Der Workshop Methoden und Beschreibungssprachen zur Modellierung und Verifikation von Schaltungen und Systemen (MBMV 2015) findet nun schon zum 18. mal statt. Ausrichter sind in diesem Jahr die Professur Schaltkreis- und Systementwurf der Technischen Universität Chemnitz und das Steinbeis-Forschungszentrum Systementwurf und Test. Der Workshop hat es sich zum Ziel gesetzt, neueste Trends, Ergebnisse und aktuelle Probleme auf dem Gebiet der Methoden zur Modellierung und Verifikation sowie der Beschreibungssprachen digitaler, analoger und Mixed-Signal-Schaltungen zu diskutieren. Er soll somit ein Forum zum Ideenaustausch sein. Weiterhin bietet der Workshop eine Plattform für den Austausch zwischen Forschung und Industrie sowie zur Pflege bestehender und zur Knüpfung neuer Kontakte. Jungen Wissenschaftlern erlaubt er, ihre Ideen und Ansätze einem breiten Publikum aus Wissenschaft und Wirtschaft zu präsentieren und im Rahmen der Veranstaltung auch fundiert zu diskutieren. Sein langjähriges Bestehen hat ihn zu einer festen Größe in vielen Veranstaltungskalendern gemacht. Traditionell sind auch die Treffen der ITGFachgruppen an den Workshop angegliedert. In diesem Jahr nutzen zwei im Rahmen der InnoProfile-Transfer-Initiative durch das Bundesministerium für Bildung und Forschung geförderte Projekte den Workshop, um in zwei eigenen Tracks ihre Forschungsergebnisse einem breiten Publikum zu präsentieren. Vertreter der Projekte Generische Plattform für Systemzuverlässigkeit und Verifikation (GPZV) und GINKO - Generische Infrastruktur zur nahtlosen energetischen Kopplung von Elektrofahrzeugen stellen Teile ihrer gegenwärtigen Arbeiten vor. Dies bereichert denWorkshop durch zusätzliche Themenschwerpunkte und bietet eine wertvolle Ergänzung zu den Beiträgen der Autoren. [... aus dem Vorwort]

Die heutige Welt der Menschen wird durch große Dynamik geprägt. Eine Vielzahl verschiedener Prozesse entfaltet sich parallel und teilweise auf unsichtbare Weise miteinander verbunden. Nimmt man z.B. den Prozess der Globalisierung: Hier erleben wir ein exponentielles Wachstum der internationalen Verknüpfungen von der Ebene einzelner Menschen und bis zur Ebene der Kulturen. Solche Verknüpfungen führen uns zum Begriff der Komplexität. Diese wird oft als Produkt der Anzahl der Elemente eines Systems mal Umfang der Verknüpfungen im System verstanden. In anderen Worten, die Welt wird zunehmend komplexer, denn die Verknüpfungen nehmen zu. Komplexität wiederum ist ein Begriff für etwas unverstandenes, unkontrollierbares, etwas unbestimmtes. Genau wie bei einem Menschen: Aus einer Zelle wächst ein Mensch, dessen Verhalten wir im Detail nur schwer vorhersagen können. Immerhin besitzt sein Gehirn 1011 Elemente (Zellen). Wenn also diese dynamischen sozialen Prozesse zu höherer Komplexität führen, müssen wir auch mehr Unbestimmtheit erwarten. Es bleibt zu Hoffen, dass die Unbestimmtheit nicht existenzielle Grundlagen betrifft. Was die Komplexität der Technik angeht, so versucht man hier im Gegensatz zu den gesellschaftlichen Unsicherheiten die Unsicherheiten zu erfassen und gezielt mit ihnen umzugehen. Das gilt für alle Bereiche, ob nun Naturgefahrenmanagement, beim Bau und Betrieb von Kernkraftwerken, im Bauwesen oder in der Schifffahrt. Und so verschieden diese Fachgebiete auch scheinen mögen, die an diesem Symposium teilnehmen: Sie haben erkannt, das verantwortungsvoller Umgang mit Technik einer Berücksichtigung der Unbestimmtheit bedarf. Soweit sind wir in gesellschaftlichen Prozessen noch nicht. Wünschenswert wäre, dass in einigen Jahren nicht nur Bauingenieure, Maschinenbauer, Mathematiker oder Schiffsbauer an einem solchen Probabilistik- Symposium teilnehmen, sondern auch Soziologen, Politiker oder Manager... (aus dem Vorwort) --- HINWEIS: Das Volltextdokument besteht aus einzelnen Beiträgen mit separater Seitenzählung. / PREFACE: The world today is shaped by high dynamics. Multitude of processes evolves parallel and partly connected invisible. For example, the globalisation is such a process. Here one can observe the exponential growing of connections form the level of single humans to the level of cultures. Such connections guide as to the term complexity. Complexity is often understood as product of the number of elements and the amount of connections in the system. In other words, the world is going more complex, if the connections increase. Complexity itself is a term for a system, which is not fully understood, which is partly uncontrollable and indeterminated: exactly as humans. Growing from a single cell, the humans will show latter a behaviour, which we can not predict in detail. After all, the human brain consists of 1011 elements (cells). If the social dynamical processes yield to more complexity, we have to accept more indetermination. Well, one has to hope, that such an indetermination does not affect the basic of human existence. If we look at the field of technology, we can detect, that here indetermination or uncertainty is often be dealt with explicitly. This is valid for natural risk management, for nuclear engineering, civil engineering or for the design of ships. And so different the fields are which contribute to this symposium for all is valid: People working in this field have realised, that a responsible usage of technology requires consideration of indetermination and uncertainty. This level is not yet reached in the social sciences. It is the wish of the organisers of this symposium, that not only civil engineers, mechanical engineers, mathematicians, ship builders take part in this symposium, but also sociologists, managers and even politicians. Therefore there is still a great opportunity to grow for this symposium. Indetermination does not have to be negative: it can also be seen as chance.

abstract: This qualitative study uses the theoretical concepts of identity, agency, and power to explore the ways in which students in their moment-to-moment interactions enact identities, agency, and power as they engage in the activity of writing and participate in a writing workshop. This research highlights what happens to writers as they engage in writing processes with one another and moves away from interpreting what happens between students as only cognitive or behavioral phenomenon. Additionally, through the lenses of identity, agency, and power, the complexity of what it means to be a writer in a writing workshop is made visible. Data for the study were collected over a five-month period and include observations of children participating in a third-grade writing workshop, written field notes, and detailed recording of the actions and interactions among the students as well as the teacher and students to capture the time, space, and participants' activity during the writing workshop. Whole class and small-group interactions were video and/or audiorecorded daily for later transcription, observation and reflection. Semi-structured informal interviews and informal talks with the students and the teachers were conducted and recorded on a regular basis, and the students' written work and other related artifacts were collected to examine the students' work as writers. The research reveals three major themes: 1) students enact multiple identities to serve a variety of purposes; 2) students enact agency in the ordinary and everyday practices of the writing workshop to change their present interactions, circumstances, and conditions; and 3) in their microlevel interactions, students enact macrolevel notions of power that shift classroom as well as peer relations. Additionally this study reveals the ways in which students use their written texts as evidence to substantiate the claims they are making about themselves and about others as learners and as people. / Dissertation/Thesis / Ph.D. Curriculum and Instruction 2010

Esta dissertação buscou entender como o processo de leitura da linguagem visual pode se expandir, por meio das relações que se estabelecem entre o eu - fotógrafo e o objeto a ser fotografado, através de um curso denominado Oficina de Fotografia. Adotou-se como referencial teórico os estudos de Paulo Freire sobre educação; de Ana Mae Barbosa sobre leitura de imagens; de María Acaso sobre educação visual; e de Joan Fontcuberta sobre a linguagem fotográfica. Para tal, constituiu-se um Grupo Focal com alunos de diferentes idades e profissões que haviam realizado o curso Oficina de Fotografia. Os depoimentos coletados constituem o corpus de análise dessa pesquisa. O método do Grupo Focal diz respeito à abordagem qualitativa de pesquisa, que procura conhecer o que os sujeitos envolvidos em uma determinada situação ou evento pensam a respeito de um tema proposto pelo pesquisador. Os resultados obtidos a partir da análise das entrevistas demonstram que os alunos passaram a ter uma leitura mais criteriosa não só das imagens fotográficas como também da linguagem visual em cenas cotidianas, após realizarem a Oficina de Fotografia. / This dissertation aimed to understand how the process of reading visual language can be expand by the relations that are established between the photographer itself and the object to be photographed in a course called Workshop of Photography. As theoretical reference it was used the studies from Paulo Freire about education; from Ana Mae Barbosa about images reading; from María Acaso about visual education; and from Joan Fontcuberta about photographic language. A Focus Group was organized with subjects from different ages and professions that had already attended the Workshop of Photography. The statements collected constitute the corpus of analysis of this research. The Focus Group is applied in a qualitative research methodology that aims to know what the subjects, involved in a particular situation or event, think about an issue suggested by the researcher. The obtained results based on an analysis from the interviews showed that the subjects, after attending the Workshop of Photography, have achieved a more discerning reading not only of the photographic images, but also from the visual language in everyday life scenes.

Esta dissertação buscou entender como o processo de leitura da linguagem visual pode se expandir, por meio das relações que se estabelecem entre o eu - fotógrafo e o objeto a ser fotografado, através de um curso denominado Oficina de Fotografia. Adotou-se como referencial teórico os estudos de Paulo Freire sobre educação; de Ana Mae Barbosa sobre leitura de imagens; de María Acaso sobre educação visual; e de Joan Fontcuberta sobre a linguagem fotográfica. Para tal, constituiu-se um Grupo Focal com alunos de diferentes idades e profissões que haviam realizado o curso Oficina de Fotografia. Os depoimentos coletados constituem o corpus de análise dessa pesquisa. O método do Grupo Focal diz respeito à abordagem qualitativa de pesquisa, que procura conhecer o que os sujeitos envolvidos em uma determinada situação ou evento pensam a respeito de um tema proposto pelo pesquisador. Os resultados obtidos a partir da análise das entrevistas demonstram que os alunos passaram a ter uma leitura mais criteriosa não só das imagens fotográficas como também da linguagem visual em cenas cotidianas, após realizarem a Oficina de Fotografia. / This dissertation aimed to understand how the process of reading visual language can be expand by the relations that are established between the photographer itself and the object to be photographed in a course called Workshop of Photography. As theoretical reference it was used the studies from Paulo Freire about education; from Ana Mae Barbosa about images reading; from María Acaso about visual education; and from Joan Fontcuberta about photographic language. A Focus Group was organized with subjects from different ages and professions that had already attended the Workshop of Photography. The statements collected constitute the corpus of analysis of this research. The Focus Group is applied in a qualitative research methodology that aims to know what the subjects, involved in a particular situation or event, think about an issue suggested by the researcher. The obtained results based on an analysis from the interviews showed that the subjects, after attending the Workshop of Photography, have achieved a more discerning reading not only of the photographic images, but also from the visual language in everyday life scenes.

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No. of bitstreams: 1 aversa_pa_dr_assis.pdf: 20659555 bytes, checksum: 0299b02503905e07ecf360cfab091f31 (MD5) Previous issue date: 2018-05-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A partir da perspectiva teórica dos chamados filósofos da diferença e da composição metodológica entre a Cartografia e a Bricolagem, a presente tese intentou acompanhar os processos de criação dos participantes de uma oficina artística voltada para os conhecimentos das artes visuais/plásticas e orientada pelos saberes da Arte/Educação contemporânea, um dos campos do universo artístico que estuda os fundamentos do ensino das artes e que procura articular o fazer, o expressar e o refletir nas práticas artísticas. Através do acompanhamento desses processos criativos, pretendeu-se refletir sobre os efeitos subjetivos que o contato com as artes pôde proporcionar aos seus participantes, na medida em que, a oficina aspirava proporcionar condições de experiência estética e de enlace social, na medida em que entendíamos a oficina como território de existência; configurando-se, desta forma, como um dispositivo de produção e/ou fruição de objetos artísticos, de acontecimentos, de encontros e de subjetividades. A oficina como espaço que abrigava obras em potencial. A oficina ocorreu no Centro de Cultura e Esportes (CEU) do Jardim Itamaraty V em Poços de Caldas (MG), entre 2015 e 2017. Esse território de existência tratou-se de um espaço de ampliação e adensamento da experiência estética como estratégia para a promoção de uma maior acessibilidade ao campo das artes e convivência entre seus participantes – que por múltiplos fatores (sociais, econômicos e culturais, experiências singulares de vida) – vivem em condições de marginalidade ou vulnerabilidade social. Desta maneira, a oficina em questão ao aproximar práticas artísticas estéticas de práticas clínicas apresentou-se não só como território de produção e fruição de obras ou objetos artísticos, mas também como invenção de novos devires, novos encontros, novas composições de modos de vidas, saúdes e subjetividades, sobretudo no que se refere a sexualidades e gêneros. Corroborando, assim, com a ideia de Estética ou Arte Relacional (amplamente explorada por artistas contemporâneos) que entende um regime de encontro casual intensivo que coloca a arte no horizonte das interações humanas e seu contexto social, uma configuração artística coletiva cujo fundamento é dado pela intersubjetividade e como questão central o estar-junto. / Cartography and bricolage, an attempt to follow the processes of creation of the participants of an artistic workshop directed to the knowledge of the visual / plastic arts and oriented by the knowledge of art Contemporary education, the studies on the fundamentals of the teaching of the arts and the search, articulate the doing, and the concept in the artistic instances. Behind to reverse the creative processes, we wanted to reflect on the subjective effects that the contact with the arts affect its participants, inasmuch as a service aspired to the conditions of aesthetic and social experience of liaison, insofar as we understood a workshop as a territory of existence; thus becoming a device for the production and / or enjoyment of artistic objects, events, encounters and subjectivities. A workshop as a space that housed potential works. The workshop took place in the Center of Culture and Sports (CEU) of Jardim Itamaraty V in Poços de Caldas (MG), between 2015 and 2017. This area of existence was a space of expansion and consolidation of aesthetic experience as a strategy for the promotion of greater accessibility to the field of arts and coexistence among its participants - that by multiple factors (social, economic and cultural, unique experiences of life) - live in conditions of marginality or social vulnerability. In this way, the workshop, in approaching aesthetic artistic practices, presented itself not only as a territory for the production and enjoyment of works or artistic objects, but also as the invention of new devires, new encounters, new compositions of lifestyles, health and subjectivity, especially with regard to sexuality and gender. Thus, with the idea of Aesthetics or Relational Art (widely explored by contemporary artists), it understands a regime of intensive, casual encounter that places art on the horizon of human interactions and its social context, a collective artistic configuration whose foundation is given by intersubjectivity and as the central issue the being-together.

De um lado está a educomunicação, um campo novo, da interface entre a educação e a comunicação, definido como sendo um campo de intervenção social e de atuação profissional; subdivide-se em áreas específicas de atuação, como a da educação para a mídia, constituída pelas reflexões da relação entre produtores, o processo produtivo, a recepção das mensagens e os programas de formação de receptores autônomos e críticos frente aos meios de comunicação. De outro, estão crianças que vivem em abrigos, entidades vistas comumente como lugares de exclusão para onde são levados crianças e adolescentes à espera de um incerto destino melhor, cuja condição de vida, tanto anterior quanto atual, pode implicar em prejuízos ao desenvolvimento. Neste trabalho, que se caracteriza como uma pesquisa em ação, buscou-se compreender as possibilidades de ganhos que a participação em uma oficina de TV pode trazer para crianças abrigadas através de um estudo de caso de uma menina de onze anos, que vive em um abrigo de uma cidade de porte médio do interior de São Paulo. Procurou-se identificar mudanças na condição de desenvolvimento desta criança, expressas no seu contexto de vida cotidiana, que poderiam ser consideradas possivelmente decorrentes da participação no projeto. Adotamos como referencial teórico-metodológico a Rede de Significações. A oficina foi realizada em 30 encontros, num total de 60 horas e seguiu alguns procedimentos como o aprender fazendo e a apresentação de conceitos teóricos a partir do contato direto dos participantes com os equipamentos e com a linguagem própria da televisão. O educador e o técnico do abrigo responsável pelo caso, professores e a mãe foram ouvidos antes da realização e após a implantação, visando fazer um levantamento da história e uma descrição da criança nos momentos específicos. A descrição inicial foi muito semelhante à existente na literatura sobre crianças abrigadas, especialmente no que se refere à auto-imagem negativa e ao desempenho escolar ruim. Após a participação na oficina, houve mudanças, em sentido positivo, no retrato da menina feito por essas pessoas. Compreendemos que essas diferenças possivelmente foram motivadas pela combinação da maneira com que dialogicamente se estabeleceram as interações dela com as pessoas com quem conviveu no período do projeto (incluindo-se a educomunicadora), aos papéis atribuídos a ela e à forma como ela os assumiu. Consideramos ainda que, o desenvolvimento do projeto permitiu visualizar o uso da câmera de vídeo para a educação para a mídia como um dispositivo de educação/desenvolvimento humano capaz de potencializar a experiência de vida das crianças ao quebrar a relação mítica com o objeto TV e auxiliar a percepção de recursos próprios, especialmente para crianças que ainda não dominam a leitura e a escrita. / On the one hand, there is educommunication, a new field in the interface between education and communication, defined as a field of social intervention and professional action. It is subdivided into specific action areas, such as education for the media, which is composed of reflections on the relationship among producers, productive process, reception of messages, and programs for educating autonomous and critical recipients for the media. On the other hand, there are children living in institutions, frequently seen as places of exclusion where children and adolescents are taken to wait for an uncertain better future. These institutionalized children\'s previous and current living conditions can affect their development. In this study, characterized as research in action, we have sought to understand the possible gains that participation in a TV workshop could bring to institutionalized children. By means of the case study of an 11-year-old girl who lives in an institution in a medium-sized town in the inland region of the State of São Paulo, we tried to identify changes in her development condition, expressed in her daily life, which could be considered as derived from participation in the project. We adopted the \"Network of Meanings\" as a theoretical-methodological framework. The workshop was conducted in 30 meetings, totaling 60 hours, and followed some procedures, such as learning-by-doing and presentation of theoretical concepts to participants in direct contact with equipment and the language of television. The educator and the institution technician in charge of the case, teachers, and the girl\'s mother were heard before and after the workshop, aiming at collecting information on the girl\'s history and describing her in specific moments. The initial description of this child was very similar to that existing in the literature on institutionalized children, especially concerning negative self-image and bad school performance. After the workshop, there were positive changes in the description these people made of the girl. We understand such changes as possibly motivated by a combination of the way how interactions were dialogically established between the girl and the people with whom she interacted during the project (including the educommunicator), the roles attributed to her, and how she managed them. We also believe that the project development allowed us to see the use of the video camera in education for the media as an education/human development device to improve children\'s experience of life by breaking their mythical relationship with the object TV and helping them to perceive their own resources, especially in the case of children who do not yet master reading and writing.

Avsaknaden av positiva resultat av verksamhetsutvecklingar beror till stor del på en begränsadhelhetssyn inom organisationer. För att skapa en helhetssyn är det möjligt att kartläggaorganisationens processer, vilket kan göras i olika arbetsformer. Syftet med föreliggande studie äratt inventera vanligt förekommande arbetsformer för insamling, visualisering och dokumentering avverksamhetskunskap i en processkarta med en rad svenska kommuner som exempel. En kommunbedriver verksamheter inom flertal områden vilket innebär en mängd processer i behov avkartläggning. Utifrån egna och andras erfarenheter inom processkartläggning inom ramen för enkurs på universitetet och en kvalitativ intervju med en konsult inom processutveckling utformadesen enkätundersökning. Undersökningens syfte var att få svar på hur kommunerna arbetar för attkunna kartlägga vilka arbetsformer som bedrivs.Enkätundersökningen resulterade i att processkartläggningar vanligtvis sker i workshops med ettantal deltagare som inte överstiger tolv personer. Arbete i grupp har blivit mer och mer accepteratmed tiden, vilket har influerat processkartläggning. Som hjälpmedel för visualisering användspostit-lappar och whiteboard. Vanligen använder sig kommunerna av ett modelleringsverktyg somär avsett för processkartläggning när de vill dokumentera sina processer, men även att detförekommer användning av verktyg som inte är avsedda för just samma ändamål. Undersökningenvisar även på att förberedelsemomentet kan vara kritiskt för resultatet av en processkartläggningeftersom det påverkar involverande aktörer och tillgängliga hjälpmedel.

Maintaining composition studies and creative writing as discrete disciplines may not be in the best interests of either field. But so long as the majority of scholars and practitioners of either field remain largely uninformed about one another, it is unlikely that any progress toward conjoining the two fields will occur. Various important and constructive efforts have been made for more than thirty years to establish a scholarly, interdisciplinary community that dedicates itself to examining points of intersection between composition and creative writing. Initially, such efforts appear to attract the attention from the broader communities of each discipline. Before long, however, participation in such scholarly discussions diminishes, as do most prospects for integrating changes inspired by the collaborative exchange-let alone any prospects for merging composition studies and creative writing into a single discipline. Critical examinations of commonalities between composition studies and creative writing, while crucially important, cannot lead to a greater alliance between the two fields unless each field incorporates aspects of one another's disciplinary identity into its own. Chapter One introduces my study and considers the disciplinary histories of composition and creative writing, histories that reveal when and how they came to be separated even as they consistently were (and are) situated in the same department, the department of English. Chapter Two investigates how inventional techniques that have been conceptualized primarily in the field of composition studies can assist creative writing students in developing insights about their writing. Chapter Three extends this conversation by considering the social and collaborative techniques that can benefit the creative writing workshop. Chapter Four considers how a writing classroom can integrate genres traditionally associated with either composition or creative writing to allow students to develop a broader writing repertoire and, perhaps, an enhanced commitment to its continued development.

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