Orientador: Renata Coelho Marchezan / Banca: Arnaldo Cortina / Banca: Matheus Nogueira Schwartzmann / Banca: Maria de Lourdes O. G. Baldan / Banca: Rubens César Baquião / Resumo: Tanto sucesso de bilheteria quanto possível desafeto da crítica canônica, de fato, o cinema hollywoodiano é um tema pouco presente em teses brasileiras. Nos entornos dessa relação, ora contratual, ora polêmica (entre público, crítica e arte), serão descritas as estratégias semióticas no âmbito dos processos de significação inerentes ao cinema, de maneira a explicar, a partir dos processos semióticos visuais, a organização dos ritmos de expressão e de conteúdo possíveis que os filmes de Hollywood contemporâneos são capazes de manifestar. Ao explicar a organização dos planos de conteúdo e de expressão dos filmes mais vistos na primeira década deste século, defendem-se hipóteses em torno dos diferentes tipos de estrutura fílmica, conforme a incidência de ritmos paratáticos e hipotáticos (com efeito predominantemente sintagmático ou paradigmático), de aspecto contínuo ou descontínuo. Essas noções terão como ponto de partida os conceitos estruturalistas (Saussure, Roman Jakobson, Christian Metz) e como ponto de chegada a semiótica discursiva (Algirdas J. Greimas e Joseph Courtés), a plástica (Jean-Marie Floch), e a do ritmo (Louis Hébert). O corpus é organizado a partir dos filmes mais vistos na última década, de 2001 a 2010 (segundo o site Box Office Mojo). Será examinado um conjunto de unidades significantes (as sequências relevantes) de quatro filmes mais vistos: Avatar (2009), de James Cameron, Piratas do Caribe - o baú da morte (2006), de Gore Verbinski, Toy story 3, de Lee Unkrich (2010), e O Senhor dos anéis - o retorno do rei, de Peter Jackson (2003). Tendo como meta a descrição dos processos de significação na linguagem cinematográfica, serão estabelecidos critérios semióticos que ajudem a observar as relações estruturais pertinentes nos filmes em questão (quando possível, comparando-os a outras semióticas visuais e verbovisuais), a fim de indicar diferenças e... / Abstract: Both box office success and possible disaffection of canonical criticism, in fact, the Hollywoodian cinema is a theme not too attractive in Brazilian academic theses. In the surroundings of this relationship - sometimes contractual, sometimes controversy (since they involve different opinions amongst public, critics and art) - it is necessary to describe the semiotics strategies within the meaning processes inherent to the movies, in order to explain, by means semiotics visual processes theory, the organization of expression rhythms and content rhythms that contemporary Hollywood films are able to manifest. In explaining the organization of plane of content and plane of expression of the most viewed films on the first decade of this century it is possible to defend hypotheses on different types of film structure, as the incidence of paratactic and hypotactic rhythms (with predominantly syntagmatic or paradigmatic effects), which aspect can be continuous or discontinuous. These concepts have a starting point on the structuralism (Saussure, Roman Jakobson, Christian Metz) and an arrival point on discursive semiotics (Algirdas J. Greimas and Courtes Joseph), also on the plastic approach (Jean-Marie Floch ) and on the studies of rhythm (Louis Hébert). The corpus is organized from the most viewed films in the last decade, from 2001 to 2010 (according to Box Office Mojo website). A set of significant units (the relevant sequences) four most watched movies will be analized: James Cameron's Avatar (2009), Gore Verbinski's Pirates of the Caribbean (2006), Lee Unkrich's Toy Story 3 (2010) and Peter Jackson's Lord of the Rings (2003). In order to describe the processes of meaning in film language, semiotic principles will be established to help observe and analize the relevant structural and resemblances in the movies mentioned (when possible, comparing them to other visual and verbal visual objects), to indicate differences and ... / Doutor

Este estudo tem como objetivo introduzir ao leitor a influência da luz sobre os usuários residenciais, mostrando que o avanço das tecnologias ao longo da história e o acesso à iluminação artificial elétrica proporcionaram maior conforto às atividades relacionadas a sua moradia. Novas tecnologias, mais econômicas do ponto de vista energético, possibilitaram acesso a maiores quantidades de luz pelos usuários com diferentes tons de luz branca, permitindo uma maior escolha, porém podendo influenciar na produção do hormônio melatonina, o qual regula o relógio biológico, provocando distúrbios diversos. O trabalho de campo foi realizado em residências, dividido em duas linhas de raciocínio, sendo o primeiro à leitura em uma amostra de residências aleatórias e o segundo com base em uma residência utilizada como modelo. Entretanto, nesse último caso foram alteradas as tecnologias empregadas. Em ambos os casos foram feitas medições na sala de estar em frente à televisão. Esses estudos foram fundamentados no método de Circadian Stimulus (Rea M.S., 2005, 2011), baseado em diversos estudos laboratoriais, que demostraram a influência da luz sobre a produção de melatonina, onde foi empregado nos dois procedimentos adotados. Conclui-se que, apesar da estimativa dos níveis de supressão encontrados serem baixas, as tecnologias com temperaturas de cor mais elevadas, ou seja, luzes mais brancas, tem índices de inibição maiores e devem ser evitadas, assim como as quantidades de luz praticadas para os ambientes residenciais devem ser cuidadosamente dimensionadas. Esse trabalho não tem caráter conclusivo e sim introduz uma metodologia que ainda está em fase final de estudos, porém pode contribuir para apontar diretrizes até então pouco abordadas na prática profissional e terem o intuito de orientar os usuários finais. / This study aims to introduce the reader to the influence of light on residential users, showing that the advancement of technologies throughout history and access to electric artificial lighting have provided greater comfort to the activities related to their homes. New technologies, more economically energetic, allowed access to greater amounts of light by users with different white light tones, allowing a wide choice, but may influence the production of the hormone melatonin, which regulates the biological clock, causing many disturbances. Fieldwork was carried out in residences, divided into two lines of reasoning, the first to be read in a sample of random households and the second based on a residence used as a model. However, in the latter case, the technologies employed were altered. In both cases measurements were taken in the living room in front of the television. These studies were based on the Circadian Stimulus method (Rea M.S., 2005, 2011), based on several laboratory studies, which demonstrated the influence of light on the production of melatonin, where it was used in the two adopted procedures. It is concluded that, although estimates of suppression levels found are low, technologies with higher color temperatures, meaning whiter lights, have higher inhibition rates and should be avoided, as well as the amounts of light practiced for residential environments must be carefully dimensioned. This work does not have a conclusive character but rather introduces a methodology that is still in the final phase of studies, but it can contribute to point out guidelines that have not been approached in the professional practice and are intended to guide end users

Circadian clocks are biological signalling networks which have a period of ~24 hours under constant environmental conditions. They have been identified in a wide range of organisms, from cyanobacteria to mammals and through the temporal co-ordination of biological processes are believed to increase individual fitness. The mechanisms which generate these self-sustained rhythms, the pathways of entrainment and the target outputs of the clock are all areas of great interest to circadian biologists. The plant circadian clock is believed to comprise of interlocking feedback loops of transcription and translation. The morning MYB-transcription factors CIRCADIAN CLOCK ASSOCIATED 1 (CCA1) and LATE ELONGATED HYPOCOTYL (LHY) bind to the promoter of TIMING OF CAB2 1 (TOC1) and repress its expression, as well as their own. As levels of CCA1 and LHY fall, TOC1 is expressed and activates the expression of its repressors. This is a simplified version of the known clock components and the current model contains this core loop as well as an interlocked morning and evening loop, which also incorporates some post-translational modification (Chapter 1). Understanding the plant circadian network and its entrainment are the topics of this thesis. The study has focused on two plant species, the land plant Arabidopsis thaliana and the picoeukaryotic marine algae Ostreococcus tauri. In both of these species light-mediated entrainment of the clock has been investigated (Chapter 8), as well as the core circadian mechanism. In A. thaliana the role of a circadian associated gene, EARLY FLOWERING 3 has been a particular focus for investigation, through both experimentation and mathematical models (Chapters 4 and 5). In O. tauri the responses to light signals have been tested, as have the circadian responses to pharmacological manipulation (Chapters 6, 7 and 8). The work presented identifies a role for ELF3 in the repression of circadian genes and also links it with the regulation of protein stability. Likewise, in O. tauri the regulation of protein stability is identified to be a key mechanism for sustaining circadian rhythms. As well as investigating the clock in plants, certain photoreceptors have been characterised in S. cerevisiae with the aim of linking them to a synthetic oscillator. Together the work presented in this thesis provides evidence for the circadian community to aid with the understanding of circadian rhythms in plants, and possibly other organisms.

Thesis (Ed.D.)--Boston University / The purpose of this study is to construct an instrument to measure objectively locomotor response to rhythmic auditory stimuli. This purpose will be considered accomplished if the instrument distinguishes between members of the study groups; if, as evidence of its validity the results obtained from measuring groups of untrained, trained amateurs, and professional dancers reflect the obvious difference in the rhythmic skill of these groups.

This dissertation is in two unrelated parts: the first part is the Dissertation Essay (p. 1-49) and the second part is the Dissertation Composition (p. 50-178). The Dissertation Essay is an analysis of György Ligeti's Étude 1: Désordre (Disorder) (1985) for piano. In the first part of the essay, there is a short introduction to Ligeti's Piano Etudes, quotations by him, and basic information about the Désordre. In the second part the etude's melodic lines are discussed, with help of figures of the phrases of the melodic lines. The main focus of the composition is in rhythm, which is given consideration in the third and most extensive part. The rhythm is approached from a perspective of different rhythmic levels, also with the help of figures. Finally in the fourth, shifting and form are scrutinized. The last part is followed by Conclusions, Bibliography / Works Cited, and Appendix (Analysis sheets of Désordre). In the analysis sheets of Désordre (Appendix) the etude is approached from the points of view of rhythmic levels of two individual lines, phrasings of these melodic lines, shifting of bar lines (between right and left hands) and overall form. Throughout this essay it is recommended that one follows Appendix. Désordre is a refined combination of systematic and non-systematic music. Ligeti bends, changes and breaks the system along the way. The fine balancing between the order and disorder, is a core idea of the composition. The Dissertation Composition is Velinikka, Concerto for Quarter-tone Accordion and Chamber Orchestra (2008). The composition was commissioned by Gaudeamus Music Week and is dedicated to Veli Kujala. Velinikka, 25-minute work, was premiered on September 1st, 2008 by Veli Kujala, quarter-tone accordion, and Insomnio conducted by Ulrich Pöhl at Muziekgebouw aan 't IJ in Amsterdam. The cadenza of the concerto is improvised or/and composed by the soloist. Cooperation between Veli Kujala and the undersigned has led to an elaboration of a new instrument, the quarter-tone accordion. The most significant difference between the quarter-tone accordion and a standard chromatic button accordion with free-bass system is that the reed blocks inside the accordion are replaced with quarter-tone reed blocks. The quarter-tone reed blocks are able to produce a complete quarter-tone scale of nearly five-octave range. The quarter-tone accordion was invented by Veli Kujala in 2004. The quarter-tone reed blocks were designed by Veli Kujala and built by Pigini, an accordion factory in Italy, in 2006. The tuning system used is quarter-tone equal temperament, in which the scale divides an octave into 24 equal-ratio steps. Today many composers are interested in using micro-intervals. This increases demand for instruments able to produce them. The quarter-tone accordion is one of the answers for this demand.

Entrainment (sometimes called adaptation or alignment) is the tendency of human speakers to adapt to or imitate characteristics of their interlocutors' behavior. This work focuses on entrainment on acoustic-prosodic features. Acoustic-prosodic entrainment has been extensively studied but is not well understood. In particular, it is difficult to compare the results of different studies, since entrainment is usually measured in different ways, reflect- ing disparate conceptualizations of the phenomenon. In the first part of this thesis, we look for evidence of entrainment on a variety of acoustic-prosodic features according to various conceptualizations, and show that human speakers of both Standard American English and Mandarin Chinese entrain to each other globally and locally, in synchrony, and that this entrainment can be constant or convergent. We explore the relationship between entrainment and gender and show that entrainment on some acoustic-prosodic features is related to social behavior and dialogue coordination. In addition, we show that humans entrain in a novel domain, backchannel-inviting cues, and propose and test a novel hypothesis: that entrainment will be stronger in the case of an outlier feature value. In the second part of the thesis, we describe a method for flexibly and dynamically entraining a TTS voice to multiple acoustic-prosodic features of a user's input utterances, and show in an exploratory study that users prefer an entraining avatar to one that does not entrain, are more likely to ask its advice, and choose more positive adjectives to describe its voice. This work introduces a coherent view of entrainment in both familiar and novel domains. Our results add to the body of knowledge of entrainment in human-human conversations and propose new directions for making use of that knowledge to enhance human-computer interactions.

Este estudo tem como objetivo introduzir ao leitor a influência da luz sobre os usuários residenciais, mostrando que o avanço das tecnologias ao longo da história e o acesso à iluminação artificial elétrica proporcionaram maior conforto às atividades relacionadas a sua moradia. Novas tecnologias, mais econômicas do ponto de vista energético, possibilitaram acesso a maiores quantidades de luz pelos usuários com diferentes tons de luz branca, permitindo uma maior escolha, porém podendo influenciar na produção do hormônio melatonina, o qual regula o relógio biológico, provocando distúrbios diversos. O trabalho de campo foi realizado em residências, dividido em duas linhas de raciocínio, sendo o primeiro à leitura em uma amostra de residências aleatórias e o segundo com base em uma residência utilizada como modelo. Entretanto, nesse último caso foram alteradas as tecnologias empregadas. Em ambos os casos foram feitas medições na sala de estar em frente à televisão. Esses estudos foram fundamentados no método de Circadian Stimulus (Rea M.S., 2005, 2011), baseado em diversos estudos laboratoriais, que demostraram a influência da luz sobre a produção de melatonina, onde foi empregado nos dois procedimentos adotados. Conclui-se que, apesar da estimativa dos níveis de supressão encontrados serem baixas, as tecnologias com temperaturas de cor mais elevadas, ou seja, luzes mais brancas, tem índices de inibição maiores e devem ser evitadas, assim como as quantidades de luz praticadas para os ambientes residenciais devem ser cuidadosamente dimensionadas. Esse trabalho não tem caráter conclusivo e sim introduz uma metodologia que ainda está em fase final de estudos, porém pode contribuir para apontar diretrizes até então pouco abordadas na prática profissional e terem o intuito de orientar os usuários finais. / This study aims to introduce the reader to the influence of light on residential users, showing that the advancement of technologies throughout history and access to electric artificial lighting have provided greater comfort to the activities related to their homes. New technologies, more economically energetic, allowed access to greater amounts of light by users with different white light tones, allowing a wide choice, but may influence the production of the hormone melatonin, which regulates the biological clock, causing many disturbances. Fieldwork was carried out in residences, divided into two lines of reasoning, the first to be read in a sample of random households and the second based on a residence used as a model. However, in the latter case, the technologies employed were altered. In both cases measurements were taken in the living room in front of the television. These studies were based on the Circadian Stimulus method (Rea M.S., 2005, 2011), based on several laboratory studies, which demonstrated the influence of light on the production of melatonin, where it was used in the two adopted procedures. It is concluded that, although estimates of suppression levels found are low, technologies with higher color temperatures, meaning whiter lights, have higher inhibition rates and should be avoided, as well as the amounts of light practiced for residential environments must be carefully dimensioned. This work does not have a conclusive character but rather introduces a methodology that is still in the final phase of studies, but it can contribute to point out guidelines that have not been approached in the professional practice and are intended to guide end users

This dissertation explores multi-modal, symbolic, and embodied strategies for navigating musical periodicity, or “meter.” In the first half, I argue that these resources and techniques are often marginalized or sidelined in music theory and psychology on the basis of definition or context, regardless of usefulness. In the second half, I explore how expanded notions of metric experience can enrich musical analysis. I then relate them to existing approaches in music pedagogy. Music theory and music psychology commonly assume experience to be perceptual, music to be a sound object, and perception of music to mean listening. In addition, observable actions of a metaphorical “body” (and, similarly, performers’ perspectives) are often subordinate to internal processes of a metaphorical “mind” (and listeners’ experiences). These general preferences, priorities, and contextual norms have culminated in a model of “attentional entrainment” for meter perception, emerging through work by Mari Riess Jones, Robert Gjerdingen, and Justin London, and drawing upon laboratory experiments in which listeners interact with a novel sound stimulus. I hold that this starting point reflects a desire to focus upon essential and universal aspects of experience, at the expense of other useful resources and strategies (e.g. extensive practice with a particular piece, abstract ideas of what will occur, symbolic cues) Opening discussion of musical periodicity without these restrictions acknowledges experiences beyond attending, beyond listening, and perhaps beyond perceiving. I construct two categories for various resources and strategies: those which involve dynamic symbolic encoding (such as conducting patterns and tala gestures) and those which utilize static theoretical information (such as score-based knowledge and calculation of abstract relationships). My primary means of revealing and exploring these additional resources involves instances of “metric multi-tasking,” in which musicians keep track of multiple non-nested periodicities occurring simultaneously. One of the reasons these situations work so well at revealing additional resources is that attentional entrainment offers no explanation for how one might be able to do such a thing (only that attention is insufficient for the task). I do not make these moves in an attempt to significantly alter the theory of attentional entrainment. Rather, I frame that model as but one mode of temporal perception among many. I also leave room for types of temporal knowledge which may not be perceptual at all, but are nonetheless useful in situations involving musical periodicity. Pedagogical systems already make use of dynamic symbols and theoretical knowledge to help with temporally difficult tasks, and generally not virtuosic feats of metric multi-tasking. With these ideas in mind, I return to more straightforward “mono-metric” contexts and reconsider what to do with the concepts of “meter” and “perception.”

In this study, 24 adults without any psychological or neurological disorders participated either in 10 neurofeedback training sessions to increase the amplitude of a frequency band between 12 and 15 Hz (sensorimotor rhythm - SMR) or in ten mock neurofeedback sessions. Pre and post training measures of memory and executive functions were completed, along with quantitative electroencephalography (QEEG) measurements in order to detect changes after the training course. Furthermore, measures of SMR amplitude were taken within and across sessions to determine whether self-regulation of SMR had been achieved. The data analysis performed shows no significant differences in cognitive performance between the group who underwent neurofeedback training and the group who underwent mock neurofeedback training. The groups did not show electrophysiological changes after the training. Additionally, no significant changes in SMR amplitude or percent time above threshold across or within the 10 sessions were found in the experimental group. Moreover, the data showed a tendency, which indicates that the higher the baseline amplitude and absolute power of SMR the less time was spent above threshold during the training and the less increase in SMR amplitude between baseline and training periods. The findings obtained indicate that neurofeedback training did not affect memory, executive functions or the QEEG. The absence of significant changes in SMR amplitude across sessions might reflect failure in learning the neurofeedback task and may account for the lack of cognitive improvement and QEEG changes. The fact that the ability to self-regulate SMR might be dependent on baseline amplitude has important implications in setting thresholds. Setting thresholds according to baseline levels might increase the difficulty in maintaining SMR above threshold when the baseline is higher. Future research should also address whether baseline amplitude has a predictive value in determining successful self-regulation of brain activity.

Este trabalho apresenta um estudo acerca da fala cantada com o português brasileiro inserido no contexto da canção popular. Utilizando como base o processo de sincronização entre os pares de quatro duplas de cantores, elaboramos um experimento fatorial com dois fatores, denominados Ritmo da Canção e Ponto de Observação de Sincronização. Com o fator Ritmo da Canção, buscamos observar se a fala cantada inserida no contexto sincopado, no caso o da bossa-nova, é mais difícil de ser realizada quando comparada a mesma inserida no contexto não sincopado, aqui o do rock. Com o fator Ponto de Observação de Sincronização buscamos observar se os sujeitos têm a mesma capacidade de sincronização em inícios e em finais de frases. Ambos os cálculos foram realizados através das medidas das lags, diferença temporal entre os Pontos de Observação de Sincronização dos cantores de uma mesma dupla, ou seja, ora separamos as lags por canções (fator Ritmo da Canção), ora separamos por ponto (fator Ponto de Observação de Sincronização). Em paralelo, e de forma a complementar o estudo fonético-acústico, observamos o desenvolvimento métrico-acentual das canções, comparando os acentos lingüísticos e os musicais das canções utilizadas. O conjunto de resultados obtidos por meio de cálculos estatísticos e as observações métricoacentuais indicam que os cantores apresentam maior facilidade em realizar a tarefa pedida cantar o mais sincrônico possível no contexto no qual o ritmo de acompanhamento das canções não era sincopado, assim como indica maior facilidade em sincronizar nos finais de sentenças. / This paper presents a study about the Brazilian Portuguese placed in the context of the song. Using as a base the entrainment process between pairs of four pairs of singers, we designed a factorial experiment with two factors, called Rhythm of the Song and Entrainment Observation Point. With the factor Rhythm of the Song, we observe whether the speech into the context of singing bossa-nova is more difficult to achieve when compared to the same inserted in the context of rock. With the factor Entrainment Observation Point we seek to observe whether individuals have the same ability to sync at the beginning and end of sentences. Both calculations were performed by measuring the lag, time difference between entrainment observation points of the singers of the same pair, i.e., separated the lag by songs (factor Rhythm of the Song), and separated by Entrainment Observation Point (factor Entrainment Observation Point). In parallel, and to complement the acousticphonetic study, we observed the development of accentual metric-songs comparing the linguistic and musical accents of the songs used. The set of results obtained by statistical calculation and accentual-metric observations indicates that the singers have it easier to perform the requested task - to sing as synchronous as possible - in the context in which the rhythm accompaniment of songs was not syncopated, so ease as indicated to sync at the end of sentences.