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Estudo sobre a possibilidade de revisão do contrato aleatório por superveniente onerosidade excessiva de uma das partes contratantes em virtude de acontecimentos extraordinários e imprevisíveis. Mesmo diante de um posicionamento vacilante de vários teóricos a respeito desse tema, a tendência é a plena possibilidade da revisão e até mesmo a extinção do contrato aleatório por conta da superveniente e imprevista onerosidade excessiva ocorrida no curso do cumprimento da avença, à luz das modernas diretrizes do Direito Civil, sobretudo se considerada a necessidade de adequação do direito positivo às soluções que melhor se amoldem à estabilização das relações contratuais, de modo a evitar o desequilíbrio além da âlea contratada. De um ponto de vista criterioso, é plenamente possível prever situações que, no contrato aleatório, permitam e justifiquem evitar a perpetuação do ônus excessivo e nocivo imposto a uma das partes contratantes em razão de indesejáveis e imprevisíveis eventos supervenientes. / Study on the possibility of aleatory contract review for impracticability or supervening excessive burden of a contracting party by virtue of extraordinary and unpredictable events. Even with an unsteady position of many theorists on this subject, the tendency is the full possibility of review and even the resolution of aleatory contract due to the supervening excessive burden or impracticability occurred in the course of fulfillment of the covenant, according to the guidelines of the modern civil law, especially when considering the need to adapt the positive law to the right solutions that are best conformed to the stabilization of contractual relations, in order to avoid the imbalance beyond the contracted alley. In an insightful perspective, it is fully possible to foresee situations that permit and justify, in an aleatory contract, to avoid the perpetuation of excessive and harmful burden imposed on a contracting party by reason ofthe occuffence of unwanted and unpredictable events.

This thesis explores the possibilities of communication in the context of a sound composition. In RevealingReveilingReveling, a series of questions concerning communication posed by John Cage, coupled with an extension of those questions posed by myself, are set to recorded sounds-in-the-world. The intention is to create a greater awareness of that which there is to listen in our world. The first part of this essay discusses influences of philosophical thought during the process of composing RevealingReveilingReveling. Two distinct twentieth-century thinkers that have impacted the creation of this piece and their areas of thought are Martin Heidegger: language and Being; and John Cage: sound, silence, and awareness. The second part of the essay is a structural analysis of the piece, discussing the recording of Cage's questions, sounds-in-the-world, sound-manipulation techniques and thought-processes, as well as periodic mention the aesthetic decisions made.

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The thesis explores the relationships between sound and mobility through an examination of sound art. The research engages with the intersection of sound, mobility and art through original empirical work and theoretically through a critical engagement with sound studies. In dialogue with the work of De Certeau, Lefebvre, Huhtamo and Habermas in terms of the poetics of walking, rhythms, media archeology and questions of publicness, I understand sound art as an experimental mobile and public space. The thesis establishes and situates the emerging field of mobile sound art by mapping three key traditions of mobile sound art - locative art, sound art and public art - and creates a taxonomy of mobile sound art by defining four categories: 'placing sounds', 'sound platforms', 'sonifying mobility' and 'musical instruments' (each represented by one case study). In doing so it develops a methodology that is attentive to the specifics of the sonic and mobile of media experience. I demonstrate how sonic interactions and embodied mobility are designed and experienced in specific ways in each of the four case studies - 'Aura' by Symons (UK), 'Pophorns' by Torstensson and Sandelin (Sweden), 'SmSage' by Redfern and Borland (US) and 'Core Sample' by Rueb (US) (all 2007). In tracing the topos of the musical telephone, discussing the making and breaking of relevant micro publics, accounting for the polyphonies of footsteps and unwrapping bundles of rhythms, this thesis contributes to understanding complex media experiences in hybrid spaces. In doing so it critically sheds light on the quality of sonic artistic experiences, the audience engagement with urban, public and networked spaces and the relationship between sound art and everyday media experience. My thesis provides valuable insight into auditory ways of mobilising and making public spaces, non-verbal and embodied media practices, and rhythms and scales of mobile media experiences.

Thesis (M.M.)--University of North Texas, 2002. / A two-week event in four parts: invitation, installation, reception, and thank-you card. Installation for 2 hosts, 2 ushers, photographer, 4 posers, exerciser, sound persons, and blindfolded guests, with a mix of live and recorded sounds. Includes instructions for performance. Includes bibliographical references (p. 66-67).

System evolvability is vital to the longevity of large-scale complex engineered systems. The need for evolvability in complex systems is a result of their long service lives, rapid advances to their integrated technologies, unforeseen operating conditions, and emerging system requirements. In recent years, quantifiable metrics have been introduced for measuring the evolvability of complex systems based on the amount of excess capability in the system. These metrics have opened opportunities for optimization of systems with evolvability as an objective. However, there are several aspects of such an optimization that require further consideration. For example, there is a trade-off between the cost of excess capability initially built into complex systems and the benefit that is added to the system for future evolution. This trade-off must be represented in the optimization problem formulation. Additionally, uncertainty in future requirements and parameters of complex systems can result in an inaccurate representation of the design space. This thesis addresses these considerations through multi-objective optimization and uncertainty analysis. The resulting analysis gives insight into the effects of designing for evolvability. We show that there is a limit to the value added by increasing evolvability. We also show that accounting for uncertainty changes the optimal amount of evolvability that should be designed into a system. The developed theories and methods are demonstrated on the design of a military ground vehicle.

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This paper discusses several compositions that use the computer screen to present music notation to performers. Three of these compositions, Law of Fives (2015), Polytera II (2016), and Terraformation (2016–17), employ strategies that allow the notation to change during the performance of the work as the product of composer-regulated algorithmic generation and performer interaction. New methodologies, implemented using Cycling74's Max software, facilitate performance of these works by allowing effective control of generation and on-screen display of notation; these include an application called VizScore, which delivers notation and conducts through it in real-time, and a development environment for real-time notation using the Bach extensions and graphical overlays around them. These tools support a concept of cartographic composition, in which a composer maps a range of potential behaviors that are mediated by human or algorithmic systems or some combination of the two. Notational variation in performance relies on computer algorithms that can both generate novel ideas and be subject to formal plans designed by the composer. This requires a broader discussion of the underlying algorithms and control mechanisms in the context of algorithmic art in general. Terraformation, for viola and computer, uses a model of the performer's physical actions to constrain the algorithmic generation of musical material displayed in on-screen notation. The resulting action-based on-screen notation system combines common practice notation with fingerboard tablature, color gradients, and abstract graphics. This hybrid model of dynamic notation puts unconventional demands on the performer; implications of this new performance practice are addressed, including behaviors, challenges, and freedoms of real-time notation.

Leo Brouwer's Sonata Mitología de las Aguas No. I for flute and guitar, first published in 2017, has taken its place as an important twenty-first-century addition to the flute and guitar duo repertory. I provide a brief historical context for the work, followed by preparation guides for guitar alone and duo passages. My preparation guides include exercises and rehearsal strategies, focusing on those passages of the work that include controlled indeterminacy. The study of indeterminacy in music is unusual in the pedagogy of the classical guitarist; this leaves guitarists unprepared for dealing with pieces, especially chamber works, that use improvisation or aleatoric music as a primary element. I take a multifaceted approach to facilitate the realization of the indeterminate sections of the work; this includes demonstrations of my traditional music notation transcriptions and other rehearsal strategies and the application of music performance study systems by James Thurmond and Marcel Tabuteau. This document aims to provide guidance to creating an organic, natural aesthetic in the actualization of Brouwer's groundbreaking work.