La théorie de l'argumentation abstraite de Dung est un formalisme permettant d'utiliser un système d'argumentation afin de représenter des informations conflictuelles. Des sémantiques à base d'extensions ont d'abord été introduites dans le but de déterminer quels arguments peuvent être conjointement acceptés. Cependant, ces sémantiques ne sont pas appropriées pour certaines applications, c'est pourquoi des sémantiques à base de classement, permettant de classer les arguments du plus acceptable au moins acceptable, ont été introduites. Le but de cette thèse est donc de proposer et d'étudier ces sémantiques à base de classement dans le contexte de l'argumentation abstraite.Nous définissons d'abord une nouvelle famille de sémantiques à base de classement basées sur un principe de propagation permettant de contrôler l'influence des arguments non-attaqués sur l'acceptabilité des arguments. Nous étudions les propriétés de ces sémantiques, les relations entre elles ainsi qu'avec d'autres sémantiques existantes.Nous proposons ensuite deux méthodes pour comparer les sémantiques à base de classement. La première est une comparaison empirique sur des systèmes d'argumentation générés aléatoirement donnant un aperçu des similitudes et des différences entre ces sémantiques. La seconde est une comparaison axiomatique de toutes ces sémantiques à la lumière des propriétés proposées visant à mieux comprendre le comportement de chaque sémantique.Enfin, nous remettons en question la capacité des sémantiques existantes à capturer certains principes de persuasion et introduisons une nouvelle sémantique paramétrée à base de classement plus appropriée pour ce contexte précis. / Dung’s theory of abstract argumentation is a formalism that represents conflicting information using an argumentation framework. Extension-based semantics have been introduced to determine, given an argumentation framework, the justifiable points of view on the acceptability of the arguments. However, these semantics are not appropriate for some applications. So alternative semantics, called ranking-based semantics, have recently been evolved. Such semantics produces, for a given argumentation framework, a ranking on its arguments from the most acceptable to the least one(s). The overall aim of this thesis is to propose and study ranking-based semantics in the context of abstract argumentation. We first define a new family of ranking-based semantics based on a propagation principle which allow us to control the influence of non-attacked arguments on the acceptability of arguments. We investigate the properties of these semantics, the relationships between them but also with other existing semantics. Then, we provide a thorough analysis of ranking-based semantics in two different ways. The first one is an empirical comparison on randomly generated argumentation frameworks which reveals insights into similarities and differences between ranking-based semantics. The second one is an axiomatic comparison of all these semantics with respect to the proposed properties aiming to better understand the behavior of each semantics. At last, we question the ability of the existing ranking-based semantics to capture persuasion settings and introduce a new parametrized ranking-based semantics which is more appropriate in this context.

L’approche synchrone aux systèmes réactifs, où le temps global est une séquence d’instants discrets, a été proposée afin de faciliter la conception des systèmes embarqués critiques. Des systèmes synchrones sont souvent réalisés sur des architectures asynchrones pour des raisons de performance ou de contraintes physiques de l’application. Une répartition d’un système synchrone sur une architecture asynchrone nécessite des protocoles de communication et de synchronisation pour préserver la sémantique synchrone. En pratique, les protocoles peut avoir un coût important qui peut entrer en conflit avec les contraintes de l’application comme, par exemple, la taille de mémoire disponible, le temps de réaction, ou le débit global.L’approche quasi-synchrone utilise des composants synchrones avec des horloges indépendantes. Les composants communiquent par échantillonnage de mémoire partagée ou par des tampons FIFO. On peut exécuter un tel système de façon synchrone, où toutes les horloges avancent simultanément, ou de façon asynchrone avec moins de contraintes sur les horloges, sans ajouter des protocoles .Plus les contraintes sont relâchées, plus de comportements se rajoutent en fonction de l’entrelacement des tics des horloges. Dans le cas de systèmes flots de données, un comportement est différent d’un autre si les valeurs ou le cadencement ont changé. Pour certaines classes de systèmes l’occurrence des déviations est acceptable, tant que la fréquence de ces événements reste bornée.Nous considérons des limites dures sur la fréquence des déviations avec ce que nous appelons les exigences faiblement dures, par exemple, le nombre maximal d’éléments divergents d’un flot par un nombre d’éléments consécutifs.Nous introduisons des limites de dérive sur les apparitions relatives des paires d’événements récurrents comme les tics d’une horloge, l’occurrence d’une différence,ou l’arrivée d’un message. Les limites de dérive expriment des contraintes entre les horloges, par exemple, une borne supérieure de deux tics d’une horloge entre trois tics consécutifs d’une autre horloge. Les limites permettent également de caractériser les exigences faiblement dures. Cette thèse présente des analyses pour la vérification et l’inférence des exigences faiblement dures pour des programmes de flots de données synchrones étendu avec de la communication asynchrone par l’échantillonnage de mémoire partagée où les horloges sont décrites par des limites de dérive. Nous proposons aussi une analyse de performance des systèmes répartis avec de la communication par tampons FIFO, en utilisant les limites de dérive comme abstraction. / The synchronous approach to reactive systems, where time evolves by globally synchronized discrete steps, has proven successful for the design of safetycriticalembedded systems. Synchronous systems are often distributed overasynchronous architectures for reasons of performance or physical constraintsof the application. Such distributions typically require communication and synchronizationprotocols to preserve the synchronous semantics. In practice, protocolsoften have a significant overhead that may conflict with design constraintssuch as maximum available buffer space, minimum reaction time, and robustness.The quasi-synchronous approach considers independently clocked, synchronouscomponents that interact via communication-by-sampling or FIFO channels. Insuch systems we can move from total synchrony, where all clocks tick simultaneously,to global asynchrony by relaxing constraints on the clocks and withoutadditional protocols. Relaxing the constraints adds different behaviors dependingon the interleavings of clock ticks. In the case of data-flow systems, onebehavior is different from another when the values and timing of items in a flowof one behavior differ from the values and timing of items in the same flow ofthe other behavior. In many systems, such as distributed control systems, theoccasional difference is acceptable as long as the frequency of such differencesis bounded. We suppose hard bounds on the frequency of deviating items in aflow with, what we call, weakly-hard requirements, e.g., the maximum numberdeviations out of a given number of consecutive items.We define relative drift bounds on pairs of recurring events such as clockticks, the occurrence of a difference or the arrival of a message. Drift boundsexpress constraints on the stability of clocks, e.g., at least two ticks of one perthree consecutive ticks of the other. Drift bounds also describe weakly-hardrequirements. This thesis presents analyses to verify weakly-hard requirementsand infer weakly-hard properties of basic synchronous data-flow programs withasynchronous communication-by-sampling when executed with clocks describedby drift bounds. Moreover, we use drift bounds as an abstraction in a performanceanalysis of stream processing systems based on FIFO-channels.

Si la peinture abstraite n’a pas bien sûr fait mourir la peinture figurative qui existe après elle, si elle n’a pas supprimé le paysage pictural, quel peut bien être le sens, la nature et la portée, au sein de la peinture contemporaine elle-même, du paysage abstrait ? Quelles en sont les conditions de possibilité ? A quelles conditions un paysage abstrait est-il possible, c’est à dire réalisable pour le peintre et pensable pour l’historien et le théoricien de l’art ? Telles sont les questions rectrices de cette thèse qui entend déployer et explorer le paradoxe d’un paysage séparé — ce qui est bien le sens strict d’abstrait — de l’exigence de représentation mimétique d’un espace naturel ou urbain extérieur « d’un lieu assez élevé, où tous les objets auparavant dispersés se rassemblent sous un seul coup d’oeil » selon l’expression de Fénelon. Ce déploiement et cette exploration s’effectue sur les deux exemples des oeuvres de Cy Twombly et Gerhard Richter interprétées comme deux modalités différentes d’une relève du paysage, dépassant et conservant à la fois ce dernier sur le mode de l’évocation : par un langage purement pictural, par le langage des titres et des mots dans la peinture pour Twombly, par la photographie et la photo-peinture pour Richter. A cet égard, Twombly et Richter tentent tous les deux de mettre en oeuvre aux deux sens duterme, une rupture et une continuité : entre la forme du genre paysage et l’expérience paysagère au sein de l’espace de la galerie d’exposition, entre la tradition du paysage occidental (Poussin, Turner, Friedrich) et la peinture des peintres américains contemporains (Pollock, Rothko et Rauschenberg), entre la peinture et les autres média ou les autres arts auxquels elle se confronte (la poésie pour Twombly, la photographie et la littérature pour Richter). La thèse est donc construite comme un ensemble de croisements qui rend possible le paysage abstrait renouvelant le genre du paysage, lelibérant de ses règles traditionnelles et, ainsi, l’ouvrant à des formes inédites et étonnantes. / If abstraction did not kill landscape painting, how would the pictorial genre survive within the context of contemporary painting? What would be the meaning of the term abstract landscape? Under which circumstances and conditions would an abstract landscape be possible? This research tries to address these questions by investigating the paradox of a landscape which does not represent mimetically space seen from a higher point at a glance, as Fénelon would put it.The works of Cy Twombly and Gerhard Richter are used as means for this exploration since they present two different modalities of a landscape which overcomes and preserves itself at the same time. In this respect, both Twombly and Richter attempt to implement rupture and continuity: between landscape form and landscape experience within the gallery space, between western landscape tradition (Poussin, Turner, Friedrich) and contemporary American painting (Pollock,Rothko and Rauschenberg), between painting and other media or arts (poetry for Twombly, photography and literature for Richter). This way, this study is constructed by a set of contradictions which make abstract landscape possible. This abstract landscape renews landscape genre, frees it from its traditional rules and opens it to new and surprising forms

Considerando todos os avanços tecnológicos pelos quais a fonografia passou desde sua invenção, em 1877, por que persistem registros sonoros de baixa definição? Para enfrentarmos essa questão, propomos encarar o lo-fi como um objeto comunicacional, de modo a compreender, a partir de sua linguagem, como ele modeliza a música pop. O lo-fi é reconhecido em senso comum pelo uso de equipamentos de áudio e instrumentos musicais deteriorados, obsoletos ou sucateados. Nesta tese, problematizamos essa noção. Logo de saída, desprendemos o lo-fi do determinismo tecnológico, passando ele a significar outras práticas, linguagens, políticas, estéticas e discursos. Para compreender esse panorama, evitamos uma construção linear ou mesmo histórica. Ao invés disso, mapeamos diversos agenciamentos de baixa definição simultâneos que se processam ao longo da história, circunscrevendo como objeto empírico canções registradas fonograficamente e que promovem algum tipo de desterritorialização do regime de signos institucionalizado pelo mainstream, o que nos leva ao seguinte objetivo geral: compreender o lo-fi como uma virtualidade que age na comunicação fonográfica, isto é, como uma máquina abstrata que não só se diferencia de si própria, mas também produz diferença na música pop. Para dar conta desse objetivo geral, desenvolvemos os seguintes objetivos específicos: (1) evidenciar a presença dos suportes fonográficos, instrumentos musicais e demais aparelhos tecnológicos na paisagem sonora das canções lo-fi; (2) mapear e sintetizar os diferentes sistemas culturais que, postos em relação, edificam a semiosfera de onde o lo-fi emerge como um novo sistema; (3) mapear os territórios de significação agenciados pelas imagens sonoras de baixa definição em canções lo-fi; (4) analisar a capacidade dessas imagens sonoras de promover agenciamentos de baixa definição na música pop; (5) descrever o diagrama da máquina abstrata lo-fi, seus modos de funcionamento e de modelização da música pop. Organizamos as análises em platôs, que percorrem diferentes linhas de variação contínua de significação efetuadas pelos agenciamentos de baixa definição. Ao final, descrevemos os modos de funcionamento da máquina abstrata lo-fi. Ao longo do estudo, também revisitamos e refletimos sobre teorias relacionadas ao assunto, como ecologia acústica, materialidades da comunicação, arqueologia da mídia, afecto, semiótica e a filosofia da diferença de Gilles Deleuze e Félix Guattari. Como resultado, esperamos contribuir para as teorias da comunicação com reflexões referentes às noções de fidelidade, resolução, ruído, percepção sonora e, em especial, para a constituição de um modelo comunicacional micropolítico, reconhecido nos processos de diferenciação de nosso objeto de estudo. A baixa definição, defendemos, manifesta-se entre estados regulares da música pop, desestabilizando seus ritmos regulares, forçando seu núcleo a modificar sua estratégia para lidar com a diferença. Imagens sonoras lo-fi são institucionalizadas pela música pop, mas isso acaba por gerar outras imagens sonoras potenciais. A baixa definição segue, assim, resistindo aos regimes de signos impostos pelos movimentos hegemônicos da música pop, sempre propondo arrebatamentos e estabelecendo modos de comunicar imprecisos, distorcidos, violentos. / Considering every technological advance phonographic recording has achieved since its invention in 1877, how come low definition sound recordings still exist (and persist)? To face such question, we treat lo-fi as a communicational object, in order to comprehend, from its language, how it models pop music. Lo-fi is recognized by common sense as the use of either scraped, obsolete, or spoiled audio and/or music equipments. In the present dissertation, we question and problematize such notion. From the start, lo-fi is set loose of its technological determinism, so it can be understood as different practices, languages, politics, aesthetics and discourses. To comprehend such a perspective, we avoid linear or historical approaches. Instead, several simultaneous low definition agencements processed throughout history are mapped, where we look for recorded songs that promote some kind of deterritorialization of the regime of signs institutionalized by the mainstream, which leads us to the following general objective: to comprehend lo-fi as a virtuality that acts on phonographic communication, that is, as an abstract machine that not only differs from itself, but also produces differentiation in pop music as well. To unravel this general objective, we established the following specific objectives: (1) to point out the presence of phonographic supports, musical instruments and other technological devices in the soundscape of lo-fi songs; (2) to map and to synthesize the different cultural systems that, when put in relation to each other, build a semiosphere from where lo-fi emerges as a new system of its own; (3) to map the territories of signification produced by agencements of low definition sound images; (4) to analyze the capacity of such sound images in promoting low definition agencements in pop music; (5) to describe the diagram of lo-fi’s abstract machine, its operating modes and pop music modelizations. The analyses are organized in plateaus that roam different lines of continuous meaning variations elicited by low definition agencements. At the end, we describe the modes of operation of the lo-fi abstract machine. Throughout the research, we also revisit and speculate about theories regarding the subject: acoustic ecology, materialities of communication, media archaeology, affect, semiotics and Deleuze and Guattari’s philosophy of difference. As a result, we expect to contribute to the theories of communication, specially concerning the notions of fidelity, resolution, noise, sound perception and, last but not least, to contribute to the construction of a micro-political communication model, recognized in the processes of differentiation of our object of research. As we advocate, low definition manifests itself between pop music’s regular states, destabilizing its regular rhythms, forcing its core to modify its strategy to deal with the difference. However, pop music institutionalizes lo-fi sound images, but that movement ends up generating other potential lo-fi sound images in the lo-fi system. Therefore, low definition follows, resisting to the regimes of signs imposed by pop music’s hegemonic movements, developing new ways of ravishments and establishing fuzzy, distorted, violent, inaccurate modes of communication.

Submitted by Jorge Silva (jorgelmsilva@ufrrj.br) on 2018-06-13T18:25:28Z No. of bitstreams: 1 2017 - Nat?lia Alves Machado.pdf: 3771402 bytes, checksum: 7e4676cbdd43a00d5d92a31b0864721c (MD5) / Made available in DSpace on 2018-06-13T18:25:28Z (GMT). No. of bitstreams: 1 2017 - Nat?lia Alves Machado.pdf: 3771402 bytes, checksum: 7e4676cbdd43a00d5d92a31b0864721c (MD5) Previous issue date: 2017-02-10 / A large amount of students come to high school having great difficulties to understand the basics Physics contents, precisely because they did not truly understand the basics concepts, such as the elementary operations and etc. It turns into be one of the biggest challenges faced by us, the teachers, in the classroom, who seek to make classes attractive and meaningful for the students learning process. In the search to make the process more cooperative, that is to say, by having students actively participating in the discussion of themes several techniques have been developed. In this paper, we will discuss some fundamental concepts in Physics ? magnitudes and its measurement units, length, ratio and proportion, area and volume ? in the attempt to investigate how students understand these concepts and how some tangible activities done inside the classroom with students of any school year help them to set more advanced and abstracts Physics concepts. Elaborating simple and concrete material brings many possibilities either for students or for teachers. With the handling and experimentation of these materials, students will understand the basic phenomena associated to it, so teachers could rethink their own lessons, in addition to discuss with the students how they need to go through the concrete ?thought? so they can think of the magnitudes in a more abstract way, which we do, in most cases, in Physics teaching. Thereby this paper exposes a wide-ranging discussion about the need and the importance of the concrete to improve students learning in order to enhance classes, stimulate the students and enable them to be able to appropriate the themes that are presented to them in Physics. / Muitos alunos chegam ao Ensino M?dio com uma grande dificuldade de entender os conte?dos b?sicos de F?sica, justamente por n?o terem aprendido de maneira concreta os conceitos b?sicos, como por exemplos as unidades de medidas, as opera??es b?sicas etc. Isto acaba se tornando um dos maiores desafios enfrentados por n?s, professores, nas salas de aula, que buscamos tornar as aulas atrativas e significativas para a aprendizagem dos alunos. Na busca por tornar o processo mais colaborativo, isto ?, fazendo com que os alunos participem da discuss?o dos temas, muitas t?cnicas t?m sido desenvolvidas. Neste trabalho ser?o discutidos alguns conceitos basilares em F?sica? grandezas e suas unidades de medidas, comprimento, raz?o e propor??o, ?rea e volume - na tentativa de investigar como os alunos compreendem esses conceitos e como algumas atividades concretas realizadas em sala de aula, com alunos de qualquer ano escolar, ajudam a formar conceitos mais avan?ados e abstratos da F?sica. Elaborar materiais concretos simples traz muitas possibilidades, tanto para alunos quanto para os professores. Com a manipula??o e experimenta??o desses, os alunos compreender?o os fen?menos b?sicos envolvidos, j? os professores poder?o repensar suas aulas, al?m de discutir como os alunos necessitam passar pelo ?pensamento? concreto para ent?o conseguir pensar nas grandezas de forma mais abstrata, o que fazemos, na maior parte das vezes, no Ensino de F?sica. Deste modo, pretende-se expor uma ampla discuss?o sobre a necessidade e import?ncia do concreto para melhorar a compreens?o dos alunos, com o intuito de melhorar as aulas, estimular os alunos e fazer com que esses sejam capazes de se apropriar dos temas que s?o apresentados a eles na F?sica.

The purpose of this paper is to explore specific works that I have created as it relates to digital art and design. My works include abstract, organic objects that exist within surrealistic environments. First, I explain the dynamics of the imagery that has emerged from my career in broadcast television, my coursework in the Department of Art and Design at East Tennessee State University, and the works of fantasy, surreal, and abstract artists. In conclusion, the images discussed impose an idea of abstraction and surrealism with a sense of force, motion, life, and dynamic action.

The artist discusses the work for his Masters of Fine Arts exhibition, Mind under Matter, held at the Tipton Gallery in downtown Johnson City, Tennessee. Exhibition dates are from March 27th through April 5th 2017. ‘Matter under Mind’ explores the balance of control and non-control within the art-making process. This technique creates an automatic dialogue resulting in abstraction guided by the subconscious. The title ‘Matter under Mind’ is a slight play on the phrase ‘mind over matter’ emphasizing how matter/material is manipulated by the mind through the making of artwork, and within the mind’s eye or imagination. The video installation featuring the work is accompanied by a soundscape to bring the viewer deeper into the creative process. The video symbolizes the idea of ‘solve et coagula’ or, dissolve and coagulate, destroy to recreate by revealing how the process of cleaning paint off of a surface creates artwork in itself.

Neste trabalho estabelecemos uma base teórica para a construção de uma teoria de rep- resentação de lógicas proposicionais. Iniciamos identificando uma relação precisa entre a categoria das lógicas (Blok-Pigozzi) algebrizáveis e a categoria de suas classes de álgebras associadas. Assim obtemos codificações funtoriais para as equipolências e morfismos den- sos entre lógicas. Na tentativa de generalizar os resultados obtidos sobre a codificação dos morfismos entre lógicas algebrizáveis, introduzimos a noção de funtor filtro e sua lógica asso- ciada. Classificamos alguns tipos especiais de lógicas e um estudo da propriedade metalógica de interpolação de Craig via amalgamação em matrizes para lógicas não-protoalgebrizáveis, e estabelecemos a relação entre a categoria dos funtores filtros e a categoria de lógicas. Em seguida, empregamos noções da teoria das instituições para definir instituições para as lógicas proposicionais abstratas, para uma lógica algebrizável e para uma lógica Lindenbaum alge- brizável. Sobre a instituição das lógicas algebrizáveis (lógicas Lindenbaum algebrizáveis), estabelecemos uma versão abstrata do Teorema de Glivenko e que é exatamente o tradi- cional teorema de Glivenko quando aplicado entre a lógica clássica e intuicionista. Por fim, influenciado pela teoria de representação para anéis, apresentamos os primeiros passos da teoria de representação de lógicas. Introduzimos as definições de diagramas modelos à esquerda para uma lógica, Morita equivalência e Morita equivalência estável para lógicas. Mostramos que quaisquer representações para lógica clássica são estavelmente Morita equiv- alentes, entretanto a lógica clássica e intuicionista não são estavelmente Morita equivalentes. / In this work we provide a framework in order to build a representation theory of proposi- tional logics. We begin identifying a precise relation between the category of (Blok-Pigozzi) algebraizable logic and the category of their classes of associated algebras. Then, we have a functorial codification for the equipollence and dense morphisms between logics. Attempt- ing generalize the results found before about codification of morphisms among algebraizable logics, we introduce the notion of filter functor and its associated logic. We classify some special kinds of logics and a study of a meta-logical Craig interpolation property via matri- ces amalgamation for non-protoalgebraizable logics, and we establish a relation between the category of filter functors and the category of logics. In the sequel, we employ notions of institution theory to define the institutions for the abstract propositional logics, for an al- gebraizable logic and Lindenbaum algebraizable logic. On the institutions for algebraizable logics (Lindenbaum algebraizable logics), we introduce the abstract Glivenkos theorem and this notion is exactly the traditional Glivenkos theorem when applied between the classical logic and intuitionistic logic. At last, influenced by the representation theory of rings, we present the first steps on the representation theory of logics. We introduce the definition of left diagram model for a logic, Morita equivalence of logics and stably-Morita equivalence for logics. We have showed that any presentation for classical logic are stably-Morita equivalent, but the classical logic and intuitionistic logic are not stably-Morita equivalent.

Under adequate conditions on $g$, we show the density in $L^2((0,\pi),(0,2\pi))$ of the set of functions $p$ for which \begin{equation*} u_{tt}(x,t)-u_{xx}(x,t)= g(u(x,t)) + p(x,t) \end{equation*} has a weak solution subject to \begin{equation*} \begin{aligned} u(x,t)&=u(x,t+2\pi)\\ u(0,t)&=u(\pi,t)=0. \end{aligned} \end{equation*} To achieve this, we prove a Saddle Point Principle by means of a refined variant of the deformation lemma of Rabinowitz. Generally, inf-sup techniques allow the characterization of critical values by taking the minimum of the maximae on some particular class of sets. In this version of the Saddle Point Principle, we introduce sufficient conditions for the existence of a saddle-structure which is not restricted to finite-dimensional subspaces.

This thesis combines personal experiences of depression with experimentation of media, and consists of four projects including a set of five postcards, a graduation robe, and a tapestry collection. The final project, and central focus, is a series of 100 digital images that was created to distract the artist from harmful mental breakdowns. The series is aptly named Coping and has become a study on expressions of the mind. The exploration of the subconscious through art has roots in psychology and influences from several art movements. Psychologist Sigmund Freud recognized the power of the unconscious mind, and his psycho-analytical discoveries influenced artists in both the Surrealist Automatic and Abstract Expression movements (Turner, pgs. 373-374). Artists such as Andre Masson, Joan Miro, and Jackson Pollock experimented with subconscious thoughts, images and techniques. Additionally, contemporary artists such as Yayoi Kusama reference psychological states of being in their work by using specific denotative elements such as pattern, shape and color. Even though Coping was not initially created with conscious intention, the work proves that art can be both an insight into the subconscious and a powerful coping mechanism.