Made available in DSpace on 2014-06-11T19:25:28Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-02-18Bitstream added on 2014-06-13T20:53:22Z : No. of bitstreams: 1 leite_scb_me_mar.pdf: 681572 bytes, checksum: 998e82036cf8727d4c73328be2481656 (MD5) / Este trabalho tem como objetivo geral realizar um contraste entre duas teorias cognitivas da consciência, a Teoria do Espaço de Trabalho Global de Bernard Baars (1988) e o Modelo de Esboços Múltiplos de Daniel Dennett (1991). Apesar de Dennett demonstrar apreciação pela Teoria do Espaço de Trabalho Global, sua teoria não aparenta ser muito compatível com a mesma. O objetivo específico deste trabalho é de verificar esta compatibilidade perguntando se as criticas de Dennett ao Teatro Cartesiano atingem a Teoria do Espaço de Trabalho Global. O primeiro capítulo expõe a visão de Dennett sobre como a consciência evoluiu, em contraste com a visão baseada na Teoria do Espaço de Trabalho Global. Para a primeira, a cultura e a linguagem possuem um papel central na origem da consciência, para a segunda a consciência tem principalmente uma origem biológica. No segundo capítulo, ambas as teorias da consciência são expostas, comentadas e criticadas. O terceiro capítulo realiza um contraste entre as duas teorias e analisa as implicações do conceito de Teatro Cartesiano para a Teoria do Espaço de Trabalho Global. Argumentamos que o conceito do Teatro Cartesiano é vago, e através de uma análise cautelosa encontramos 10 requisitos para uma teoria não se enquadrar em um Teatro Cartesiano, através das palavras de Dennett. Verificamos que a Teoria do Espaço de Trabalho Global preenche alguns desses requisitos. Por fim, através de uma exploração das análises de Todd (2009), concluímos que as críticas principais de Dennett a alguns aspectos do Teatro Cartesiano são fracas. Dessa forma, as críticas ao Teatro Cartesiano não são uma ameaça para a Teoria do Espaço de Trabalho Global / This work has as its main goal a contrast of two renowned cognitive theories of consciousness, Bernard Baars’ (1988) Global Workspace Theory and Daniel Dennett’s (1991) Multiple Drafts. Although Dennett shows some appreciation to the Global Workspace Theory, his own Multiple Drafts Model does not seem very compatible with it. The specific goal of this work is to verify such compatibility by asking if the Global Workspace Theory suffers from Daniel Dennett´s criticism of the Cartesian Theater. The first chapter exposes Dennett´s perspective on the evolution of consciousness, in contrast to the view based on The Global Workspace Theory. The former understands that language and culture play a central role in the origin of consciousness; the latter understands consciousness has mainly a biological origin. In the second chapter, both theories of consciousness are exposed and reviewed. The third chapter focuses on a contrast of the two theories and some implications of the Cartesian Theater. Also, we noted that the concept of a Cartesian Theater is vague, and through a rigorous analysis, 10 requisites for a theory to evade the Cartesian Theater, following Dennett’s words, were identified. The Global Workspace Theory was shown to meet a few of these requisites. Finally, making use of Todd´s (2009) analyses, we concluded that Dennett´s main critics to some aspects of the Cartesian Theater are weak. So it follows that the criticism to the Cartesian Theater does not pose serious problems for the Global Workspace Theory

Founded in 1967, the Amsterdam-based improvising collective the Instant Composers Pool is one of the longest consistently performing groups in improvised music. This thesis forms an ethnography and musicological study of the ICP Orchestra, which originated when the "pool" developed a more coherent line-up around 1980. With a background in experimental music as well as free jazz, their performance practice differs in many respects from the practices of American forms of jazz. Whereas most accounts of improvisation emphasise orality and creative interaction in opposition to the performance of composed music, 'instant composition' defines improvisation precisely in terms of compositional thinking. Moreover, founding member and orchestra leader Misha Mengelberg composed a very diverse repertoire for the group which draws on styles from Duke Ellington to John Cage and uses various forms of compositional and notational techniques to explore the different improvisatory possibilities that they afford, thus blurring the distinction between improvisation and composition both in name and in practice. Apart from a detailed historical and ethnographic description of a group that is central to a genre that has been underrepresented in music-historical research, this thesis investigates the repertoire of the ICP and its use as an opportunity to reconsider the relation between musical text and performance. Drawing on my observations and interviews with the musicians, and connecting these to theories of material culture and science and technology studies, it develops a concept of compositions as animated and animating objects in performance, tools and materials that participate in the creative interactive process of improvised performance rather than textual representations of 'the music itself'. I substantiate this theory with detailed descriptions of ICP performances recorded during fieldwork. This contributes to a rethinking of musical notation and simultaneously brings new insights into improvisation as a creative practice.