Conhecidos de Vista é uma pesquisa em poéticas visuais que propõe um olhar sobre uma situação cada vez mais recorrente no contexto urbano contemporâneo: prédios com janelas próximas demais. Vizinhos que não se conhecem formalmente mas que acompanham de perto a vida do outro, mesmo involuntariamente. Através do contato com moradores de quarenta apartamentos em Porto Alegre, foram captadas fotografias e gravações de áudio que direcionaram a elaboração desta proposta. Em uma análise que parte do processo de criação para entender os caminhos que levam à concepção de um projeto em artes visuais, são evocados trabalhos anteriores, nos quais a janela aparece de alguma forma, a fim de encontrar continuidades e procedimentos operatórios na minha produção. A paisagem urbana, o conceito de vista e as relações entre o que é público e o que é privado são questões abordadas nesta pesquisa. / Known from View is a research in visual poetics that examines an increasingly frequent situation in the contemporary urban context: apartment buildings with opposite windows too close. Neighbors who don’t formally know each other, but inadvertently, follow the one another’s lives. Through the contact with dwellers from forty apartments in Porto Alegre - Brazil, photographs and audio recordings were taken in order to guide the development of this project. In an analysis that takes the creative process as a base point to understand the pathways that lead to the conception of a project in visual arts, earlier projects, where the window appears somehow, are evoked in order to find continuities and operative procedures in my production. The urban landscape, the concept of view, and relationships between public and private spaces are explored in this research.

This diploma thesis describes Sudetenland in environmental, economic and sociological view. The main question of this research is if Sudetenland still exist as a marginal area. The theoretical part contains a summary of basic terms, for example amenity migration, a plan of development of a municipality and a coefficient of the ecological stability (KES). It also contains explanation of the word "Sudetenland" as a geographical, socio-economic and histroric-political term and so on the historical consequences, which influenced Sudetenland. The practical part of this diploma thesis is focused on observation the socio-economic behaviour of inhabitants of particular part of the Sudetenland, village Celnice and on a calculation of KES of its cadastral area. This thesis is designed as a case study. It considers the amenity migration as a solution of some socio-economic problems of this area.

Made available in DSpace on 2014-06-11T19:32:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2007Bitstream added on 2014-06-13T18:07:15Z : No. of bitstreams: 1 silvestre_mac_dr_arafcl.pdf: 1058248 bytes, checksum: e70b578fe0efbfc570ae4b9d956b67f1 (MD5) / Esta tese discute o caráter feminista da obra de Kate Chopin (1851-1904) ao abordar determinados aspectos da condição da mulher do final do século XIX, principalmente no que diz respeito a temas como casamento, família, liberdade, trabalho, submissão e emancipação. A escritora americana levanta questões polêmicas sobre a identidade da mulher, por meio da caracterização das personagens femininas na narrativa, quer em situações ligadas à identidade social, quer em relacionamentos amorosos. Embora, muitas vezes, utilize-se de recursos que, aparentemente, negam uma discussão direta a respeito dessas questões, Kate Chopin acaba revelando seu descontentamento com as opressões sofridas pela mulher, quase sempre associadas às diferenças sexuais e às tradições e cria, para isso, uma estrutura narrativa em que a luta pela identidade feminina se faz presente, seja de forma explícita ou indireta. Além de um estudo aprofundado da temática dos contos, são observados e analisados, entre outras coisas, elementos textuais importantes como o foco narrativo, a caracterização e representação das personagens (principalmente as femininas), bem como as relações de tempo e espaço e o uso da ironia. A crítica literária feminista, mais especificamente a Ginocrítica, que tem Elaine Showalter como principal representante, também faz parte do referencial teórico da tese. / The present study aims to discuss Kate Chopin's (1851-1904) feminist view about some aspects related to the condition of women at the end of the nineteenth century, especially concerning themes such as marriage, family, freedom, work, submission and emancipation. The American writer raises these polemic issues about feminine identity through the character's representation in the narrative, as in situations related to social identity, as when they are involved in love relationships. Although she has often used narrative devices that apparently deny a direct discussion of these questions, Kate Chopin reveals her dissatisfaction with the oppression suffered by women, due to sexual differences and traditional values, creating a narrative structure in which the struggle for a feminine identity is presented, explicitly or implicitly. Thus, besides an analysis of the themes in Chopin's short stories, some important devices are observed, such as point of view, character portrayal (mainly the feminine ones), as well as time and space relations and the use of irony. Feminist criticism, especially Elaine Showalter's Ginocritics, is also used as part of theoretical framework.

This is a thesis on outdoor monocular visual SLAM in natural environments. The techniques proposed herein aim at estimating camera pose and 3D geometrical structure of the surrounding environment. This problem statement was motivated by the GPS-denied scenario for a sea-surface vehicle developed at Plymouth University named Springer. The algorithms proposed in this thesis are mainly adapted for the Springer’s environmental conditions, so that the vehicle can navigate on a vision based localization system when GPS is not available; such environments include estuarine areas, forests and the occasional semi-urban territories. The research objectives are constrained versions of the ever-abiding problems in the fields of multiple view geometry and mobile robotics. The research is proposing new techniques or improving existing ones for problems such as scene reconstruction, relative camera pose recovery and filtering, always in the context of the aforementioned landscapes (i.e., rivers, forests, etc.). Although visual tracking is paramount for the generation of data point correspondences, this thesis focuses primarily on the geometric aspect of the problem as well as with the probabilistic framework in which the optimization of pose and structure estimates takes place. Besides algorithms, the deliverables of this research should include the respective implementations and test data for these algorithms in the form of a software library and a dataset containing footage of estuarine regions taken from a boat, along with synchronized sensor logs. This thesis is not the final analysis on vision based navigation. It merely proposes various solutions for the localization problem of a vehicle navigating in natural environments either on land or on the surface of the water. Although these solutions can be used to provide position and orientation estimates when GPS is not available, they have limitations and there is still a vast new world of ideas to be explored.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Um estudo sobre o olhar cinematográfico a partir da obra do cineasta russo ANDREI ARSENSEVICH TARKOVSKI (1934-1986), na perspectiva de uma recepção estético-teológica do filme como referência para uma teologia da imagem em movimento. O primeiro capítulo desenvolve uma ontogênese da criação cinematográfica a partir da trajetória artísticobiográfica do cineasta, tendo em vista delinear a formação de um olhar a partir da relação autor e obra, que Tarkovski entendia como a ligação orgânica da qual depende toda arte. O segundo capítulo analisa o último filme realizado pelo diretor, O Sacrifício (Suécia, 1986). Apresenta uma sinopse prévia do filme e detalha a imagem movimentada pela câmera de Tarkovski compreendendo-na como uma economia do olhar que o artista cria no filme. Num terceiro ponto, trata de sedimentar a troca de olhar com o filme numa sinóptica teopoética, como perspectiva de um olhar teológico sobre o filme. O terceiro capítulo consiste do momento teórico teológico propriamente dito. Busca assentar a relação cognitiva da teologia com o cinema a partir da metáfora do olhar teológico para, no segundo ponto, definir o objeto de uma teologia da imagem em movimento como a mediação de um olhar. No terceiro ponto, definimos a situação comunicativa de recepção estético-teológica do filme como troca de olhar, a partir da qual desenvolvemos a idéia de uma sinóptica teopoética como perspectiva teológica crítico-criativa de interpretação cinematográfica. Esse estudo se ocupa da experiência de recepção estética do filme a partir de suas implicações para o sujeito do olhar teológico. Afirma o valor heurístico do cinema para a teologia como experiência de crise do olhar e, ao mesmo tempo, de olhar criativo e autotranscendente. / A study about the cinematographic look centered on the work of the Russian director ANDREI ARSENSEVICH TARKOVSKI (1934-1986), in the perspective of an esthetic-theological reception of film as reference for a theology of the image-in-movement. The first chapter is the development of an ontogenesis of film creation, through an analysis of the artisticbiographical career of Tarkovski, aiming at delineating the formation of a look out of the relation between author and work, which Tarkovski understood as the organic relation on which all art depends. The second chapter is an analysis of Tarkovskis last film, The Sacrifice (Sweden, 1986). It starts with a synopsis of the film and then details the image moved by Tarkovskis camera, understanding it as a economy of the look which the artist create in the film. A third moment in this chapter describes the look exchange with the film in a theopoetic synoptic as a perspective of a theological look on the film. The third chapter presents the moment of theological theory. The aim is to construct the cognitive relation between theology and cinema from the metaphor of a theological look. In a second moment it defines the object of a theology of the image in movement as the mediation of a look. In a third moment, the communicative situation of esthetic-theological reception of film is defined as a look exchange out of which the idea of a theopoetic synoptic as a theological critical-creative perspective of cinematographic interpretation is developed. The study is about the experience of esthetic reception of film, centering on its implications for the subject of the theological look. It affirms the heuristic value of cinema for theology as experience of a look crisis and, at the same time, the experience of a creative and self-transcendent look.

Le contexte dans lequel vivent les organisations évolue. Elles doivent faire face à quatre nouveaux enjeux principaux : l’appartenance à des pôles et réseaux, le centrage sur les connaissances et l’innovation, la responsabilité sociétale et l’intégration de nouveaux comportements au travail. Ces nouveaux enjeux font apparaître de nouvelles parties prenantes des organisations (pouvoirs publics, société, associations, communauté scientifique, entreprises partenaires…) et diversifient leurs attentes (création d’emplois, création de connaissances, protection de l’environnement…). Ainsi, les critères d’évaluation de la performance de ces organisations se multiplient et se diversifient. Les modes de conception et de pilotage existants doivent être adaptés. Ce travail met en œuvre une recherche-action au sein de la plateforme d’imagerie préclinique MIRCen (Molecular Imaging Research Centre) du CEA, appartenant au pôle de compétitivité Medicen Paris Region ainsi qu’à divers réseaux nationaux et internationaux. Il repose sur une démarche valeurs, une approche processus et une vision systémique. Il met en évidence la nécessité de repenser la performance des organisations faisant face à ce nouveau contexte, à travers leur création de valeurs au pluriel (scientifiques, économiques, sociétales, éthiques, environnementales…), de façon à prendre en compte les aspects multi parties prenantes et multicritère. Il propose une démarche intégratrice originale permettant de modéliser cette création de valeurs et d’adopter de nouveaux modes de conception des processus et de pilotage par les valeurs adaptés à ces organisations. Il aboutit à la mise en place d’un outil opérationnel d’aide au pilotage par les valeurs qui intègre ces propositions et qui permet de répondre de façon dynamique à un ensemble d’attentes de parties prenantes, en passant par l’implication de tous les acteurs de l’organisation dans son pilotage. / The context, in which organisations exist, is changing. They need to cope with four main issues: the belonging to clusters and networks, the focus on knowledge and innovation, the social responsibility and the integration of new behaviours at work. These new issues imply new stakeholders of organisations (such as authorities, society, associations, scientific community or business partners) and diversify their expectations (such as jobs creation, knowledge creation or environmental protection). Thus, the criteria which are necessary to evaluate properly the performance of organisations are multiplying and diversifying. Existing design and management ways must be adapted. This work carries out an action-research within the preclinical imaging platform MIRCen (Molecular Imaging Research Centre) of the CEA, which belongs to the Medicen Paris Region cluster and to other national and international networks. It is based on a values-oriented method, a process approach and a systemic view. It gives rise to the necessity of reconsidering the performance of the organisations which face this new context, through the creation of multiple kinds of values (such as scientific, economic, societal, environmental or ethical), in order to consider the multi-stakeholders and multi-criteria aspects. It proposes an original integrative approach, which enables to model this creation of values and to adopt new ways to design processes and to manage by values, suited to these organisations. It leads to the setting up of an operational management support tool, which enables to carry out these propositions and to meet dynamically a group of stakeholders’ expectations, involving the active implication of all actors of the organisation in its management.

Ce travail est de une tentative de réponse à la question cruciale formulée en son temps par Paul Valéry : « mais au fait, qui parle dans un poème ? », à partir d’une étude audio-critique de la trajectoire complète de Pablo Neruda (1904-1973). Quarante-trois recueils et plus de cinq cents poèmes seront ainsi convoqués au cours de cette thèse dont le point de départ est le suivant : s’il est communément admis que la voix, en poésie, est un indescriptible inaudible qui est et n’est pas, la voix nérudienne propose elle une évolution cohérente vers une plus grande sonorité. La voix nérudienne est bien un effet de présence issu d’une absence. Elle est bien dotée d’inflexions dont les silences a priori sonores dessinent un ontorythme qui en ferait une voix presque humaine. / This dissertation is an attempt at answering a crucial question that Paul Valéry once asked: “by the way, who is speaking in a poem?” This study is based the complete works of Pablo Neruda (1904-1973) analysed from an audio-critical point of view, with forty-three collections of poems under scrutiny. The assumption at the core of this dissertation is that, although it is generally defined as something indescribable and inaudible that is and is not that the same time, the nerudian voice offers a coherent evolution towards more perceptible sonority, a more perceptible sound pattern. The nerudian voice is indeed a form of presence resulting from absence. It is endowed with inflections and a priori audible silent moments that create an ontorhythm, turning it into an almost human voice. Like the human voice, the poematic voice went through a series of evolutions and mutations that need to be reflected upon.

La détection de personnes dans les vidéos est un défi bien connu du domaine de la vision par ordinateur avec un grand nombre d'applications telles que le développement de systèmes de surveillance visuels. Même si les détecteurs monoculaires sont plus simples à mettre en place, ils sont dans l’incapacité de gérer des scènes complexes avec des occultations, une grande densité de personnes ou des scènes avec beaucoup de profondeur de champ menant à une grande variabilité dans la taille des personnes. Dans cette thèse, nous étudions la détection de personnes multi-vues et notamment l'utilisation de cartes d'occupation probabilistes créées en fusionnant les différentes vues grâce à la connaissance de la géométrie du système. La détection à partir de ces cartes d'occupation amène cependant des fausses détections (appelées « fantômes ») dues aux différentes projections. Nous proposons deux nouvelles techniques afin de remédier à ce phénomène et améliorer la détection des personnes. La première utilise une déconvolution par un noyau dont la forme varie spatialement tandis que la seconde est basée sur un principe de validation d’hypothèse. Ces deux approches n'utilisent volontairement pas l'information temporelle qui pourra être réintroduite par la suite dans des algorithmes de suivi. Les deux approches ont été validées dans des conditions difficiles présentant des occultations, une densité de personnes plus ou moins élevée et de fortes variations dans les réponses colorimétriques des caméras. Une comparaison avec d'autres méthodes de l’état de l'art a également été menée sur trois bases de données publiques, validant les méthodes proposées pour la surveillance d'une gare et d'un aéroport / People detection is a well-studied open challenge in the field of Computer Vision with applications such as in the visual surveillance systems. Monocular detectors have limited ability to handle occlusion, clutter, scale, density. Ubiquitous presence of cameras and computational resources fuel the development of multi-camera detection systems. In this thesis, we study the multi-camera people detection; specifically, the use of multi-view probabilistic occupancy maps based on the camera calibration. Occupancy maps allow multi-view geometric fusion of several camera views. Detection with such maps create several false detections and we study this phenomenon: ghost pruning. Further, we propose two novel techniques in order to improve multi-view detection based on: (a) kernel deconvolution, and (b) occupancy shape modeling. We perform non-temporal, multi-view reasoning in occupancy maps to recover accurate positions of people in challenging conditions such as of occlusion, clutter, lighting, and camera variations. We show improvements in people detections across three challenging datasets for visual surveillance including comparison with state-of-the-art techniques. We show the application of this work in exigent transportation scenarios i.e. people detection for surveillance at a train station and at an airport

Considerações de informação perceptual têm ganhado espaço rapidamente em pesquisas referentes a representação, análise e exibição de malhas. Estudos com usuários, eye tracking e outras técnicas são capazes de fornecer informações cada vez mais úteis para sistemas voltados a usuário, que formam a maioria das aplicações em computação gráfica. Neste trabalho nós expandimos sobre o conceito de Saliência de Malhas — uma medida automática de importância visual para malhas de triângulos baseada em modelos de atenção humana em baixo nível — melhorando, extendendo e realizando integração com diferentes aplicações. Nós extendemos o conceito de Saliência de Malhas para englobar objetos deformáveis, mostrando como um mapa de saliência em nível de vértice pode ser construído capturando corretamente regiões de alta importância perceptual através de um conjunto de poses ou deformações. Nós definimos saliência multi-pose como um agregado multi-escala de valores de curvatura sobre uma vizinhança localmente estável, em conjunto com deformações desta vizinhança em múltiplas poses. Nós substituímos distância Euclideana por geodésica, assim fornecendo melhores estimativas de vizinhança local. Resultados mostram que saliência multi-pose gera resultados visualmente mais interessantes em simplificações quando comparado à saliência em uma única pose. Nós também aplicamos saliência de malhas ao problema de segmentação e rendering dependente de ponto de vista, introduzindo uma técnica para segmentação que particiona um objeto em um conjunto de clusters, cada um englobando um grupo de características localmente interessantes. Saliência de malhas é incorporada em um framework para clustering propagativo, guiando seleção de pontos de partida para clusters e custos de propagação de faces, levando a uma convergência de clusters ao redor de características perceptualmente importantes. Nós comparamos nossa técnica com diferentes métodos automáticos para segmentação, mostrando que ela fornece segmentação melhor ou comparável sem necessidade de intervenção do usuário. Uma vez que o algoritmo de segmentação proposto é especialmente aplicável a rendering multi-resolução, nós ilustramos uma aplicação do mesmo através de um sistema de rendering baseado em ponto de vista guiado por saliência, alcançando melhorias consideráveis em framerate com muito pouca perda de qualidade visual. / Considerations on perceptual information are quickly gaining importance in mesh representation, analysis and display research. User studies, eye tracking and other techniques are able to provide ever more useful insights for many user-centric systems, which form the bulk of computer graphics applications. In this work we build upon the concept of Mesh Saliency — an automatic measure of visual importance for triangle meshes based on models of low-level human visual attention—improving, extending and integrating it with different applications. We extend the concept of Mesh Saliency to encompass deformable objects, showing how a vertex-level saliency map can be constructed that accurately captures the regions of high perceptual importance over a range of mesh poses or deformations. We define multipose saliency as a multi-scale aggregate of curvature values over a locally stable vertex neighborhood together with deformations over multiple poses. We replace the use of the Euclidean distance by geodesic distance thereby providing superior estimates of the local neighborhood. Results show that multi-pose saliency generates more visually appealing mesh simplifications when compared to a single-pose mesh saliency. We also apply Mesh Saliency to the problem of mesh segmentation and view-dependent rendering, introducing a technique for segmentation that partitions an object into a set of face clusters, each encompassing a group of locally interesting features. Mesh Saliency is incorporated in a propagative mesh clustering framework, guiding cluster seed selection and triangle propagation costs and leading to a convergence of face clusters around perceptually important features. We compare our technique with different fully automatic segmentation algorithms, showing that it provides similar or better segmentation without the need for user input. Since the proposed clustering algorithm is specially suitable for multi-resolution rendering, we illustrate application of our clustering results through a saliency-guided view-dependent rendering system, achieving significant framerate increases with little loss of visual detail.

Essa dissertação relata, a partir de um estudo etnográfico, a experiência de duas oficinas de fotografia pinhole de que participei igualmente como pesquisadora e professora da técnica, realizadas nos bairros Partenon e Lomba do Pinheiro na cidade de Porto Alegre. A partir das experiências vividas com os alunos dessas atividades, analisam-se aspectos sobre itinerários urbanos e a troca de olhares e imagens na paisagem urbana. A técnica pinhole consiste na utilização de câmeras sem lentes que, pelo princípio da câmara escura, permite a obtenção de imagens de maneira bastante simplificada. As câmeras são construídas a partir de latas de tintas forradas de preto, onde a passagem da luz é controlada por um pequeno furo de agulha. As oficinas, ministradas pelo grupo de fotógrafos Lata Mágica, serviram como ponto de partida para a análise desse ato fotográfico diferenciado abordado a partir das “artes de fazer” dos alunos ao construírem suas imagens de forma mais artesanal do que na fotografia convencional. Assim, a fotografia pinhole é considerada enquanto uma ruptura em relação à fotografia que utiliza câmeras com lentes e é significada pelos alunos das oficinas de acordo com a construção de seus olhares. Consideram-se suas relações com a imagem que construíram e com o artefato fotografia enquanto um objeto de apropriações sociais, evocando o trabalho da memória e suas trajetórias conformadas por visões de mundo e estilos de vida diferenciados. O olhar apresentado nas imagens possibilita a reflexão sobre os alunos enquanto habitantes do espaço urbano da cidade de Porto Alegre e suas relações com os locais, nos termos de espaços vividos, e pessoas que fotografaram. / Based on an ethnographic study, this paper tells the experience of two pinhole photography workshops taken place in the locations of Partenon and Lomba do Pinheiro, in the city of Porto Alegre. Having taken part of such workshops, both as a researcher and as a teacher of this technique, I have analysed some aspects of urban itineraries and the trade of sights and images of the urban landscape considering the experiments lived by the students of such activities. Pinhole technique consists on the use of lenses-free cameras, which allow the obtainance of images through the camera obscura principle in a rather simplified manner. These cameras are manufactured out of black covered paint tins, where the light goes through controlled by a small hole made with a pin. The workshops, given by a team of photographers called Lata Mágica (Magic Tin), were taken as start line for the analysis of this differential photographic act, based on the arts of making of the students while building the images more hand-craftily than in conventional photography. Thus, pinhole photography is considered to be a burst related to photography obtained through cameras provided of lenses and it is meant by the workshop students while building their sights. The relations to the built image and the photography artefact are considered as an object of social appropriation, evoquing memory work and its trajectory conformed to different world views and lifestyles. The sight presented in the images allows the reflection on the students as inhabitants of the urban zone of Porto Alegre and their relations to the locations, in terms of lived spaces, and the photographed people.