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Denna studie har som syfte att bidra med mer kunskap kring vuxna individers uppfattning av puls. Detta genom att jämföra två olika grupper, en grupp med vuxna individer som studerar eller har studerat musik på eftergymnasial nivå, och en grupp med vuxna individer som inte gör eller har gjort det. I studien ingår en strukturerad och icke-deltagande observation samt en semistrukturerad enkät om deltagarnas musikaliska bakgrund i form av utbildning och intresse. Föreliggande uppsats ämnar i första hand att förklara vad puls faktiskt är, vad den har för funktion inom musik, samt att se hur vuxna individer uppfattar och simulerar denna. Studiens resultat visade att samtliga respondenter någon gång under studiens genomförande hade förmågan att simulera en puls som motsvarade vår teoretiska tolkning utifrån ett klingande musikexempel. Dock kunde man se tydliga skillnader mellan grupperna. Hos de musikutbildade på eftergymnasial nivå fanns det en större precision i utförandet av den givna uppgiften och större tendens att dela upp pulsen i underdelningar. Studien indikerar att alla vuxna individer kan identifiera en puls när de lyssnar på musik, samt att de i olika utsträckning också kan simulera den med sitt kroppsspråk.

Tempo is an important part of film, it is used by filmmakers to communicate various feelings and settings through visual media. Through research, we found shot length and motion are what primarily makes the tempo of a film. Further it was discovered that over the last 80 years the average shot length has steadily decreased while the action genre has grown over the last 30 years. With these findings the purpose of this study became to examine how the shot length and motion impact the cinematic tempo in action films. The first part of the study is about trying to estimate the tempo of a film sequence. This was done by finding suitable equations for tempo in films, the equation used needed two parameters to work, the average shot length of the video and its average motion. The motion was computed by extracting motion vectors of the movement from one frame to another, and then calculating the average motion throughout the scene’s entirety. The motion value was later combined with the average time of a shot to get the tempo of the scene. These calculations were carried out on five different actions films, two were extreme cases in regard to their average shot length. The films would later be shown to test subjects, who would answer questions about tempo, feelings, preference, et cetera. The results found from showing the films to test subjects was that shot length was the most important factor in how viewers perceive cinematic tempo. Motion on the contrary did not have as big of an impact. Ideally, we would not have included the extremes regarding shot length when showing the films, as the results would have provided more useful information. / Tempo är en viktig del av film, det används av filmskapare för att förmedla olika känslor och tonsättningar via visuell media. Tidigare forskning har visat att klipplängd och rörelse är primärt vad som bidrar till en films tempo. Vi upptäckte även att klipplängden stadigt har minskat de senaste 80 åren medan actiongenren har ökat de senaste 30 åren. Med dessa upptäckter blev studiens syfte att undersöka hur klipplängd och rörelse påverkar filmtempo i actionfilmer. Första delen av studien gick ut på att estimera tempot av en filmsekvens. Detta gjordes genom att hitta lämpliga ekvationer för tempo i film, ekvationen som användes behövde två parametrar för att fungera, genomsnittliga klipplängden samt genomsnittliga rörelsen. Rörelsen beräknades genom att extrahera rörelsevektorer mellan bildramar för att sedan beräkna den genomsnittliga rörelsen genom hela filmsekvensen. Värdet som erhölls användes senare i kombination med den genomsnittliga klipplängden för att få tempot på filmsekvensen. Dessa beräkningar gjordes på fem olika actionfilmer varav två stycken var extremfall gällande deras genomsnittliga klipplängd. Filmerna visades sedan till försökspersoner som sedan svarade på frågor angående tempo, känslor, preferenser, et cetera. Resultaten visade att klipplängden var den viktigaste faktorn för hur tittare uppfattar filmtempo. Rörelse hade däremot inte lika stor påverkan. Idealt hade vi inte inkluderat våra två extremfall när filmsekvenserna visades för försökspersonerna då resultaten hade gett mer användbar information.

Many of the skills that are considered noteworthy in our societies are either acquired through training and dedication or granted to those lucky enough to have the right genetics and environment. But one skill that is often overlooked is the ability to keep rhythm. This skill is both remarkable in temporal accuracy and common. And although rhythm-keeping is a common cognitive skill, not much is known about the neural correlates of rhythm-keeping. The aim of the current exploratory study was to investigate the electrophysiological correlates of rhythm-keeping. In this study, participants were asked to perform a task where they were introduced to a rhythm with both auditory and visual cues to correct themselves after. They were then supposed to keep the rhythm for approximately thirty seconds, even though all stimuli indicating the rhythm were removed after six seconds of performing the task. During the task, electrophysiological data were collected using electroencephalography (EEG). The electrophysiological data and task performance were then analysed using mass univariate analysis, but no significant relationship was found between the electrophysiological data and rhythm-keeping performance. Potential issues underlying these non-significant findings, as well as solutions to address these, will be addressed.

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Notre aptitude à déterminer si un extrait de musique est gai ou triste réside dans notre capacité à extraire les caractéristiques émotionnelles de la musique. Une de ces caractéristiques, le mode, est liée aux hauteurs musicales et une autre, le tempo, est temporelle (Hevner, 1937; 1935). Une perception déficitaire de l’une de ces caractéristiques (ex. les hauteurs) devrait affecter l’expérience émotionnelle. L’amusie congénitale est caractérisée par un traitement anormal des hauteurs (Peretz, 2008). Toutefois, peu de données ont été accumulées sur les réponses émotionnelles des amusiques face à la perception du mode. La perception émotionnelle liée à celui-ci pourrait être préservée, chez les amusiques en raison de leur perception implicite des hauteurs (Peretz, et coll., 2009). Dans un premier temps, cette étude cherchera à déterminer dans quelle mesure les amusiques adultes utilisent le mode relativement au tempo dans la distinction d’une pièce gaie, d’une triste. Dans cette optique, onze amusiques et leurs contrôles appariés ont jugé des extraits de musique classique gais et tristes, dans leur forme originale et dans deux versions modifiées : (1) mode inversé (transcrit dans le mode opposé mineur ↔ majeur) et (2) tempo neutralisé (réglé à une valeur médiane), où le mode émerge comme caractéristique dominante. Les participants devaient juger si les extraits étaient gais ou tristes sur une échelle de 10-points, pendant que leurs réponses électromyographiques (zygomatique et corrugateur) étaient enregistrées. Les participants ont par la suite été réinvités au laboratoire pour réaliser une tâche non émotionnelle de discrimination des modes (majeur, mineur), dans laquelle des paires de stimuli composés de versions plus courtes des extraits originaux et leur version au mode inversé leur étaient présentées. Les participants (14; 7 amusiques) devaient juger si les paires étaient identiques (même stimulus, même mode) ou différentes (même stimulus, modes différents). Dans cette dernière tâche, les amusiques ont eu plus de difficulté que leurs contrôles à discriminer les modes, mais les amusiques comme leurs contrôles se sont montrés sensibles aux manipulations du mode et du tempo, dans la tâche émotionnelle. Ces résultats supportés par des réponses EMG normales présupposent des habiletés préservées ou implicites de traitement tonal dans l’amusie congénitale. / Our ability to determine if a music piece is happy or sad depends on our capacity to extracts the main emotional characteristics of music. One of these characteristics, the mode, is a pitch based constituent, and another one, the tempo, is a temporal factor (Hevner, 1937; 1935). The inability to extract one of those characteristics (pitch) should affect the emotional experience. Congenital amusia is characterized by anomalous pitch processing (Peretz, 2008). Yet, little is known about the amusics’ emotional responses to mode. Perhaps emotional perception of this characteristic is preserved due to the amusics’ implicit pitch processing (Peretz, et coll., 2009). First, we decided to examine how amusic adults use mode relative to tempo in distinguishing happy from sad musical excerpts. To this aim, we tested whether eleven amusics and their matched controls judged excerpts of happy and sad classical music in their original form and in two manipulated conditions: the ‘‘inverted mode condition’’ where the excerpts were transcribed in the opposite mode (major↔minor); and the ‘‘neutralized tempo condition’’ where all tempi were set to the same median value, hence the mode emerges as the main emotional characteristic. Participants judged on a 10-point scale whether each excerpt was sad or happy while their electromyographical responses (zygomatic, corrugator activity) were recorded. Participants were then invited back to the laboratory, to complete a non-emotional task. This mode discrimination (minor, major) task consisted of pairs of original and inverted mode stimuli, made of shorter versions of the previously used stimuli. Participants (14; 7 amusics) had to judge whether the pairs were identical (same stimuli, same mode) or different (same stimuli different modes). In the latter task, amusics had significantly more difficulty in discriminating the mode compared to their controls. However, amusics did not differ from controls in showing normal sensitivity to mode and tempo manipulations in the emotional task. These normal behavioural judgments supported by normal psychophysiological measures indicate that emotional responses may reveal preserved or implicit pitch processing abilities in congenital amusia.

O presente trabalho propõe um estudo sobre questões de tempo em narrativa no romance Il deserto dei Tartari de Dino Buzzati. Terceiro romance do escritor italiano, publicado em 1940, narra a saga de um oficial de exército que presta serviço a vida inteira em um forte localizado na fronteira norte de seu país que guarda um imenso deserto a sua frente, de onde um dia uma invasão inimiga é esperada. Procuramos estudar no texto, alegoria da condição humana, as diversas relações do homem com seu maior inimigo, o tempo. Tratamos no primeiro capítulo dos trabalhos sobre tempo e narrativa, a partir de vários estudiosos que se ocuparam desse tema e que nos auxiliam em todo o trabalho. No segundo capítulo estudamos mais cuidadosamente a questão do tempo no interior da narrativa, ampliando a análise proposta, no terceiro capítulo, com uma discussão sobre as relações do tempo com o espaço e com o homem. / Questo lavoro propone uno studio sul tempo narrativo nel romanzo Il deserto dei Tartari di Dino Buzzati. Il terzo romanzo dello scrittore italiano pubblicato nel 1940 racconta la vicenda di un ufficiale dellesercito che per tutta la sua vita serve in una fortezza della frontiera nord del suo paese, la quale sta di fronte ad un grandissimo deserto da cui un giorno dovrebbe arrivare uninvasione nemica. Si cerca di studiare in questo romanzo, allegoria dellumana condizione, le diverse relazioni delluomo con il suo più grande nemico: il tempo. Si discutono nel capitolo primo alcune teorie sul tempo e la narrativa di diversi studiosi che hanno sviluppato questo tema. Le loro teorie sono la base per lanalisi proposta. Nel secondo capitolo si studia più accuratamente il problema del tempo allinterno di questa narrativa sviluppando poi l´analisi proposta, nel capitolo terzo, propone una discussione sulle relazioni del tempo sia con lo spazio sia con luomo.

A hemostasia é um evento biológico passível de ser avaliado e estudado, assim como seus distúrbios. Há situações durante a anestesia que podem cursar com alterações hemostáticas culminando com aumento do sangramento ou até mesmo hemorragias graves. Os tempos de coagulação têm recebido especial atenção tendo-se em vista os diferentes contratempos hemostáticos que pode ocorrer durante o procedimento anestésico-cirúrgico. Sendo assim, nesse estudo buscou-se estabelecer os valores padrões para tempo de protrombina (TP) e de tromboplastina parcial ativada (TTPA) para cães submetidos a diferentes procedimentos cirúrgicos. Foram estudados 50 cães hígidos para padronização dos valores de TTPA e TP utilizando aparelho automático. Os valores de TTPA estavam dentro dos valores de normalidade da literatura (6,9 a 17,6 segundos) e valores de TP discretamente maiores (de 6,65 a 12,8 segundos). Foram estudadas 20 cadelas classificadas como ASA I e 18 cães ASA II e III. Nestes animais observaram-se aumentos significativos de valores de TTPA (de 12,04 para 14,29 segundos em ASA I, com P<0,0378; e de 13,4 para 15,11 segundos nos cães ASA II e III, P<0,0067) e de TP (de 8,36 para 9,7 segundos em ASA I, P<0,0323; e de 8,32 para 9,34 segundos nos caes ASA II e III, P< 0,0084) entre os momentos pré e pós-anestésicos Estes aumentos acompanham quedas da pressão coloidosmótica, indicando que o processo de anestesia, cirurgia e fluidoterapia causam hemodiluição, e conseqüente aumento nos tempo de coagulação. / Hemostasis is a biological event that could be evaluated and studied, just like yours disturbs. There are situations in to anesthetic procedures that could curse with hemostatics disturbs causing bleeding increase or even critical blood loss. The blood clotting times have been received special attention because different hemostatic setbacks that could occur during the anesthetic and surgical procedures. This way, this study look for establish the values for reference to protrombine time (PT) and to activated partial tromboplastin time (APTT) for dogs. Were studied 50 healthy dogs to standardize the values of PT and APTT utilizing an automatic instrument. The APTT values was in agreement with the literature values (6,9 to 17, 6 seconds), and the PT values was discret increased when compared with literature (from 6,65 to 12,8 seconds). Was studied 20 bitches classifieds as ASA I and 18 dogs classifieds as ASA II and III. In this animals observed significant increase values of APTT (from 12,04 to 14,29 seconds in the ASA I, P<0,0378; and from 13,4 to 15,11 seconds in the dogs ASA II and III, P<0,0067) and of PT (from 8,36 to 9,7 seconds in ASA I, P<0,0323; and from 8,32 to 9,34 seconds in the ASA II and III dogs) between the pre and post anesthetic moments. These increases attendance decease in the colloid osmotic pressure, indicating that the anesthetic, surgical and fluid therapy procedures can cause hemodilution, and consequent increase in the blood clotting times.

Made available in DSpace on 2016-08-10T10:47:17Z (GMT). No. of bitstreams: 1 JOAO FLAVIO FREIRE MARTINS.pdf: 18464730 bytes, checksum: 8942b640b8dc957e2887471bebfab59e (MD5) Previous issue date: 2012-02-01 / This dissertation, entitled "Full-Time School: Challenges for Public Education in Goiania," discusses the respect of full-time education offered by public schools, their quality, and development challenges facing the current society. And investigate the teaching forward to this new challenge is the implementation of this educational project. Also be investigated what the difficulties are the main challenges and complexities involved in this type of education and school environment. What is the school full time and that the child population, primarily the actions of this project reach? How much space it should occupy a country where a significant break of society living below the poverty line and total social disintegration? How a proposal for full-time education, may be an element of progress in public school, may be an element of progress in the sense of democratic deepening, without falling into the control logic and social segregation of old and well known institutions to poor children? These issues were summarized in the following problem: what is the meaning of the expansion of the school day, on what basis it should be promoted? Rethinking the school and its goals is an emerging issue. A school that is geared towards the full development of the person with equal conditions of access and retention, quality assurance standards and the possibility of full citizenship. This research was based on the methodological aspect of literature and field, and it was argued theoretically in the arguments of researchers and educators all expounding on this theme. The field research developed following the workshops and Recreation 7 public schools in Goiânia. / A presente dissertação, intitulada Escola de Tempo Integral: Desafios para o Ensino Público em Goiânia objetivou discutir a respeito da educação de tempo integral oferecida pela rede pública de ensino, sua qualidade, desafios e desenvolvimento frente a atual sociedade. Bem como, investigar o trabalho docente frente a este novo desafio que é a implantação desse projeto educacional. Serão investigadas também quais são as dificuldades, os principais desafios e complexidades que envolvem essa modalidade de ensino e do espaço escolar. O que é a escola de tempo integral e a que população infantil, prioritariamente, as ações desse projeto alcança? Qual o espaço ela deve ocupar num país onde uma parte expressiva da sociedade vive abaixo da linha da pobreza e em total desagregação social? De que maneira uma proposta de educação de tempo integral, pode ser um elemento de avanço na escola pública, pode ser um elemento de avanço, no sentido de aprofundamento democrático, sem cair à lógica do controle e da segregação social das antigas e conhecidas instituições para crianças pobres? Essas questões foram sintetizadas no seguinte problema: qual o sentido da ampliação da jornada escolar, isto é, sob que base ela deve ser promovida? Necessário se faz que os objetivos da escola sejam repensados, com o enfoque para uma escola que promova o desenvolvimento da pessoa como um todo, que a acessibilidade e a permanência sejam iguais para todos, observando a qualidade do que é oferecido para que possibilite ao educando o pleno gozo de sua cidadania. Este trabalho investigativo pautou-se no aspecto metodológico de pesquisa metodológica e de campo, e teoricamente nos posicionamentos e argumentações dos teóricos educadores que trabalham este tema. A pesquisa de campo desenvolveu acompanhando as oficinas e recreação de 7 escolas de tempo integral de Goiânia.