Diss.--Berlin--Technische Universität, 1995. / Bibliogr. p. 224-228. Filmogr. p. 223.

À partir des années 1980, plusieurs théoriciens issus des études cinématographiques (Philippe Dubois, Raymond Bellour, Jean-Paul Fargier) ont assigné à la vidéo des coordonnées identitaires fixes, afin notamment d'en souligner la différence essentielle par rapport au cinéma. Partant d'une critique de ces auteurs, le travail proposé entend réenvisager les rapports entre le cinéma et la vidéo en évitant par principe tout cloisonnement identitaire fondé sur une différenciation technologique. Afin de rendre à la vidéo son hétérogénéité, et de mettre en lumière certains rapprochements avec le cinéma, ce travail se concentre sur les discours attachés aux usages de l'électronique dans des films distribués en salles d'exploitation. À partir d'un corpus d’œuvres déterminé, courant principalement sur deux décennies, il s'agit de dégager et d'analyser plusieurs « idées de vidéo » (sur le modèle de l' « idée de la photographie » de François Brunet), tantôt induites par les critiques, tantôt par les cinéastes ou encore par les films eux-mêmes. Prenant pour modèle méthodologique l’archéologie foucaldienne, cette investigation a pour objectif de repenser les termes d’une histoire des rapports entre cinéma et vidéo, avant tout focalisée sur les discours, en refusant toute idée de progrès continu. L’une des exigences de ce travail est, en effet, de réinscrire la « discontinuité » et la « dispersion » (deux opérateurs chers à Foucault) au cœur de la description historique. / Since the Eighties, several film scholars (Philippe Dubois, Raymond Bellour, Jean-Paul Fargier) have assigned fixed identity to video in order to emphasize its fundamental difference with cinema. We intend to reconsider the relations between cinema and video in a way which would avoid these ontological dictinctions based on technology. This thesis would like to give its heterogeneity back to video and bring to light some analogies with cinema by examining texts about electronic uses in theatrical released movies. The purpose is to identify and analyze several « ideas of video » (on the model of François Brunet's « idea of photography »), drawing on three ranges of objects : press reviews, filmmakers statements and movies themselves. Building on Michel Foucault's archeology, this investigation aims to re-think a history of the relations of cinema with video focused on discourses. One of our requirements is to challenge the idea of historical continuous progess and use two Foucaldian models instead : « discontinuity » and « dispersion ».

Made available in DSpace on 2016-12-08T16:59:51Z (GMT). No. of bitstreams: 1 Daniel.pdf: 1707681 bytes, checksum: 4b5e04b9b409690da3ffc27cc2b8065a (MD5) Previous issue date: 2011-12-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation examines the films Man with a movie camera (1929), by Dziga Vertov, and Tokyo-Ga (1985), by Wim Wenders, in their relation to temporality and historicity of the time they were made. At the same time, historical and aesthetic aspects are addressed through historical categories as regime of historicity , proposed by François Hartog, horizon of expectation and space of experience , by Reinhart Koselleck, which are important concepts to understand that the way past, present and future are articulated helps explain certain aspects of a particular temporality. Modernity and postmodernity, memory and forgetting, time acceleration, and sacralization of the past are some of the topics involved in this study, that also highlights similarities and tensions between cinema and history in relation to concepts like truth, legitimacy, production of meaning and representation / Esta dissertação analisa os filmes Um homem com uma câmera (1929), de Dziga Vertov, e Tokyo-Ga (1985), de Wim Wenders, em sua relação com a temporalidade e a historicidade da época em que foram realizados. São abordados paralelamente aspectos históricos e estéticos, sendo utilizadas categorias históricas como regime de historicidade , proposta por François Hartog, horizonte de expectativa e espaço de experiência , de Reinhart Koselleck, conceitos importantes para se compreender que a forma como passado, presente e futuro são articulados ajuda a explicar certos aspectos de uma dada temporalidade. Modernidade e pós-modernidade, memória e esquecimento, aceleração temporal, sacralização do passado são alguns dos tópicos que permeiam esta pesquisa, que também sublinha aproximações e tensões entre cinema e história no que se refere a conceitos como verdade, legitimidade, produção de sentidos e representação

This Master's Thesis deals with Weight-In-Motion (WIM) Systems. It focuses on piezopolymer-coaxial-cable-based sensors. The work contains summary of WIM sensors, methods for signal processing and evaluation provided by WIM sensors. The design of WIM station including measuring chain is also drawn out here. Basic meaurements on sample output from the sensor are carried out using formely designed amplifier. By this, its properties and suitability can be assessed.

Thesis (M. Phil.)--University of Hong Kong, 2001. / Includes bibliographical references (leaves 130-135).

Zugl.: Kassel, Univ., Diss., 2007

Submitted by Maykon Nascimento (maykon.albani@hotmail.com) on 2015-03-02T20:20:49Z No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação Sara Rangel.pdf: 2756783 bytes, checksum: 234263ecda6d93634d96b091dd5d52e3 (MD5) / Approved for entry into archive by Elizabete Silva (elizabete.silva@ufes.br) on 2015-03-05T21:40:08Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação Sara Rangel.pdf: 2756783 bytes, checksum: 234263ecda6d93634d96b091dd5d52e3 (MD5) / Made available in DSpace on 2015-03-05T21:40:08Z (GMT). No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação Sara Rangel.pdf: 2756783 bytes, checksum: 234263ecda6d93634d96b091dd5d52e3 (MD5) Previous issue date: 2015-03-02 / Esta dissertação apresenta o resultado de uma pesquisa, de cunho teórico, cujo escopo é apreender, na obra fílmica de Wim Wenders, o percurso estético narrativo que esse cineasta faz, tendo como eixo central de discussão o conceito de memória e experiência. As perguntas que norteiam a pesquisa são: de que forma a estética fílmica dos filmes de Wenders elabora a memória e como esta está vinculada à ideia de experiência? De que forma o fazer fílmico desse cineasta pode ser uma referência e estímulo para o âmbito da educação, em especial para a formação dos sentidos? A pesquisa propõe uma tríade dialógica entre cinema, filosofia e educação. Para tanto, traça um panorama sobre a estética de alguns filmes de Wenders em diálogo com a filosofia ensaística de Walter Benjamin. O principal objeto de análise é o filme Alice nas cidades (WENDERS, 1973). Com isso, pretende-se estabelecer um diálogo e traçar um paralelo (relação) entre os conceitos de experiência e memória, presentes na estética fílmica de Wenders, e o conceito de memória e experiência tal como apresentada em alguns ensaios benjaminianos. A hipótese principal considera que a memória coletiva e a experiência fazem par e caminham com a história da educação, e são elementos fundamentais para a formação dos sentidos. A compreensão desses dois conceitos, a partir de uma perspectiva crítica, pode ensejar uma experiência e formação estética que produzem as condições de possibilidade para a contraposição à barbárie que conduz à pobreza da experiência, também entendida como regressão dos sentidos. A segunda hipótese é de que o conceito de memória e experiência no cinema de Wim Wenders expressa uma estética comprometida na construção de uma expressão artística que dirige a atenção à ressurgência do passado no presente, isto é, evidências da experiência e da memória na linguagem cinematográfica. O esforço da pesquisa pode ser resumido na tentativa de um exercício de análise e discussão teórica em torno da relação entre educação e cinema. Para tanto, apontam-se, por meio da obra cinematográfica de Wenders, evidências de aproximação com o pensamento de Benjamin, em especial com relação aos conceitos de memória e experiência, tal como se apresenta no percurso criativo do cineasta. Tais conceitos contribuem, por meio da obra de Wenders, em diálogo com a filosofia de Benjamin, para produzirem um contraponto à educação estética na formação do professor. / This dissertation provides the results of a theoretical research which goal is grasping the aesthetic narrative of Wim Wenders' films, basically his Alice in the cities (WENDERS, 1973) in which one can find the theme and discuss the concept of memory and experience. The research presents the follow questions: how the aesthetics of Wenders' films draw up the memory and how this is linked to the idea of experience? How does Wim Wenders' way of making films may be a reference and stimulus for the educational area, especially for the formation of the senses? The research proposes a dialogue among cinema, philosophy and education. Therefore, sketches the panorama about the aesthetics of some Wenders' films in dialogue with Walter Benjamin's philosophy. With that, it is intended to establish a dialogue and drawing a parallel relation between the concepts of memory and experience, present in Wender´s aesthetics films, and the concept of memory and experience as presented in some Benjamin trials. The main hypothesis considers the collective memory and experience are paired and go with the history of education and are crucial to the formation of the senses. Understanding these two concepts, from a critical perspective, may give rise to an experience and aesthetic formation that produce the conditions of possibility for the opposition to barbarism that leads to poverty of experience, also understood as regression of the senses. The second hypothesis considers that the concept of memory and experience in Wim Wenders' films express an aesthetic committed to the construction of an artistic expression which directs attention to the past in the present, that is, evidences of experience and memory in film language. The research effort can be summed up in an attempt to an exercise of analysis and theoretical discussion throughout the relationship between education and cinema. Therefore, it is pointed out, through the Wenders' cinematic work, approach of evidence on Benjamin thoughts, specially related to the concepts of memory and experience, as presented in the creative filmmaker route. These concepts contribute, through Wim Wenders’ films in dialogue with Walter Benjamin´s philosophy, to produce a counterpoint to aesthetic education in teacher education.

Tese (doutorado)—Universidade de Brasília, Faculdade de Comunicação, Programa de Pós-Graduação em Comunicação, 2015. / Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2016-04-06T13:47:32Z No. of bitstreams: 1 2015_RoseMayCarneiro.pdf: 350822515 bytes, checksum: 3e6c6df1279d0ca3fcddbfa13787914f (MD5) / Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2016-04-07T18:24:56Z (GMT) No. of bitstreams: 1 2015_RoseMayCarneiro.pdf: 350822515 bytes, checksum: 3e6c6df1279d0ca3fcddbfa13787914f (MD5) / Made available in DSpace on 2016-04-07T18:24:56Z (GMT). No. of bitstreams: 1 2015_RoseMayCarneiro.pdf: 350822515 bytes, checksum: 3e6c6df1279d0ca3fcddbfa13787914f (MD5) / O objetivo desta tese é analisar os filmes que iniciam a trilogia on the road do cineasta alemão Wim Wenders: Alice nas Cidades (Alice in den Städten / 1974), Movimento em Falso (Falsche Bewegung / 1975 ) e No Decurso do Tempo (Im Lauf der Zeit/1976). Por meio da viagem e do ato de viajar, os filmes de Wim Wenders percorrem estradas repletas de temas existenciais que nos ajudam a refletir sobre a condição humana, na contemporaneidade. Nas suas paisagens áridas e impactantes, seus personagens ligam-se a questões como a busca da identidade, a incomunicabilidade do homem no mundo contemporâneo, a poesia, a solidão, os silêncios, os grandes espaços vazios, além da reflexão sobre a transitoriedade da imagem que perpassa a pintura, a fotografia, os gêneros, como o da paisagem, até chegar na transitoriedade do cinema. / The objective of this thesis is to analyze the films that compose the trilogy on the road by the German filmmaker Wim Wenders: Alice in the Cities (Alice in den Städten / 1974), Wrong Move (Falsche Bewegung / 1975) and Kings of the Road (Im Lauf der Zeit / 1976). Through the journey itself and the act of traveling, Wim Wenders films run through roads charged with existential themes that help us reflect on the human condition in contemporary times, considered also from a cultural perspective. In the arid and striking landscapes of the films, the characters are bound to connect to issues such as the search for identity, the lack of communication in the contemporary world, poetry, solitude, silence, geographical emptiness as well as the reflection on the image of transience running through painting, photography, genres such as landscape, until it reaches the transience of cinema itself.

The Virginia Tech Spectral-Line Survey (VTSS) is a series of 10-degree wide, arcminute-resolution images of the warm ionized interstellar medium (WIM) within the Milky Way for declinations greater than -15 degrees. The Wisconsin Hydrogen-Alpha Mapper (WHAM) studies the kinematics and distribution of this same material on an angular scale of one degree. Comparing the spatially-resolved images of the VTSS with WHAM's high spectral resolution images shows that the ISM's characteristics appear to be very similar at both degree and arcminute scales --- we see similar structures, and notice the same [S II]/H-alpha trend between those structures at both degree and arcminute scales. VTSS fields show three basic types of structures --- compact clouds with diameters greater than several degrees, those that are 1-degree or less in diameter, and extended filaments that differ from the clouds by spanning several degrees in length but having thicknesses of only a few tens of arcminutes. The latter two morphological types cannot be observed by WHAM. Additionally, VTSS data confirms that the [S II] intensity values are directly proportional to H-alpha intensities, a result that is also observed at degree resolutions. Finally, VTSS data show that [S II]/H-alpha ratios are, on average, nearly six times higher in the filaments. This would indicate that collisional excitation of singly-ionized sulfur ions is the dominant emission source within filaments. In clouds, the lower [S II]/H-alpha values observed are evidence that the H-alpha recombination line of photo-excited neutral hydrogen dominates. Because automating the VTSS was a key part of obtaining many of the images used in this project, I begin with a discussion of general observatory automation. I then address the specific processes and techniques used in automating the VTSS before discussing data collection and reduction techniques. / Ph. D.

A caracterização do tráfego rodoviário é de grande importância para o dimensionamento de pavimentos, bem como para a garantia de sua vida útil, sendo a carga aplicada pelo tráfego uma das maiores responsáveis pelos danos na estrutura. Com o objetivo de garantir a durabilidade dos pavimentos, sistemas Weigh-in-Motion (WIM) podem ser utilizados para coleta de informações sobre os veículos que trafegam em uma rodovia. Propôs-se neste estudo caracterizar o tráfego a partir da avaliação contínua das solicitações de carga na BR-381, sentido Sul, por meio da coleta de dados de Sistema WIM. A partir da análise dos dados coletados entre setembro de 2015 e fevereiro de 2017, observou-se que aproximadamente 85% dos veículos comerciais trafegam na faixa de rolamento mais solicitada (faixa 2). Com relação ao volume de veículos comerciais, pôde-se constatar a presença de uma maior quantidade de veículos durante os dias úteis quando comparados aos finais de semana. Além das variações com relação ao dia da semana, o volume de tráfego também apresenta particularidades com relação às distribuições horárias. Foram obtidas e analisadas as distribuições de carga para cada tipo de eixo das 15 categorias de veículos comerciais mais frequentes (representando 97,3% do tráfego comercial registrado). Com base na Legislação Brasileira vigente, quantificou-se o excesso de carga praticado na rodovia, onde foram identificados 23,7% dos veículos com excesso. Notou-se que a maioria dos excessos se encontram na faixa de até 10% dos respetivos limites legais, indicando que muitos transportadores carregam seus veículos considerando a tolerância como um ganho real de sobrecarga. Um método para identificação de padrões de viagem dos veículos com excesso foi proposto, que se baseia nas árvores de classificação e regressão (Classification and Regression Tree Analysis - CART), uma ferramenta analítica. Por fim, os dados de tráfego foram correlacionados com os defeitos observados no trecho experimental construído logo após o sistema WIM, onde se simulou a redução da vida útil de estruturas de pavimentos considerando diferentes cenários de carga, sendo eles: (i) tráfego real; (ii) tráfego na tolerância (considerando a tolerância de 10%); e (iii) tráfego legal, concluindo-se que a prática do excesso de carga nas rodovias penaliza o transporte rodoviário ao acelerar a degradação das rodovias. / The traffic characterization is of great importance for pavement design, as well as for prediction of its remaining service life. In fact, traffic loading is one of the major contributors for the pavement deterioration. In order to ensure pavement durability, Weigh-in-Motion (WIM) systems can be used to collect traffic data. Therefore, this study was conducted to analyze the effect on the pavements of characterizing the traffic through a Weigh-in-Motion system installed between km 948 and 949 at the Brazilian Federal Highway BR-381. The analysis of the data collected from September 2015 to February 2017 shows that approximately 85% of commercial vehicles travel on the outside slow lane (lane 2). Regarding the volume of commercial vehicles, traffic volume was lower in weekends. In addition to the daily variations, traffic patterns also presented hourly variations. The axle load distributions were obtained and analyzed for the 15 more frequent commercial vehicle categories (representing 97.3% of all the commercial traffic registered). Based on the current Brazilian laws, the results from this study have indicated a significant percentage of violation involving overloaded heavy good vehicles in the highway (23.7%). In general, most axles exceed the legal limits up to 10%, indicating that many vehicles are loaded considering the tolerance as a real gain. A method to identify overloaded truck travel patterns and loading characteristics from available HS-WIM data was proposed. The method is based on Classification and Regression Tree Analysis (CART), an analytical tool. Finally, the traffic data were correlated with the distresses observed in the experimental section constructed closer to the WIM system, where it was simulated the reduction of the useful life of pavement structures considering different load scenarios: (i) real traffic; (ii) traffic in the tolerance (considering the tolerance of 10%); and (iii) legal traffic. it was concluded that the practice of overloading on highways penalizes road transport by accelerating road degradation.