Made available in DSpace on 2014-06-11T19:25:29Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-08-21Bitstream added on 2014-06-13T19:53:15Z : No. of bitstreams: 1 rio_sf_me_mar.pdf: 348401 bytes, checksum: 8a19d40cfb099aa8128a04da0b13ae78 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Compreendendo a organização da vida por um viés evolucionista, ou seja, naturalista, tivemos por oportuno enfatizar a questão que envolve a necessidade que as modelagens das Ciências Cognitivas têm como desafio para criar um sistema artificial que se torne capaz de se constituir e evoluir como capacidades de movimento à maneira dos seres vivos, isto é, de criar um sistema capaz de criar a si como ser autônomo ao criar para si suas necessidades ambientais de interação com o meio, orientadoras de seu movimento no espaço. Não obstante ser razoável que um sistema artificial efetue movimentos que reflitam a natureza viva de movimento, o que procuramos focar é a capacidade de esse sistema superar os mecanismos de organização, objetivados em estruturas robóticas, de modo a constituir, por si mesmos, outros mecanismos adaptativos capazes de efetuar movimentos determinados pelas necessidades de se organizar no espaço autonomamente. Lançamos luz sobre esta questão, tendo presente algumas considerações que a Teoria dos Sistemas estima como fundamentais para pensar a vida em sua dimensão organizativa, na qual a complexidade se constitui como natureza de sua organização e a diferencia dos eventos que ocorrem segundo a lei de causa e efeito linear. A causalidade, nesse contexto teórico, é concebida como circular, em que os eventos se transformam e se determinam em sua ordenação e variação no tempo. A vida, em sua atividade organizativa, sendo de natureza complexa, insere-se como ordem própria de seus movimentos. Como efeito de processos interativos, a vida evolui, em suas capacidades de organização no espaço, ao assimilar do meio os eventos que se constituem, interativamente, como ambiente de ação. / Understanding the organization of life through an evolutionist view, that is, naturalistic, we found opportune to emphasize the issue that involves the necessity that Cognitive Sciences have on modeling as a challenge for creating an artificial system capable of constituting itself and of evolving, movement capacities like human beings’. What we mean by movement capacities is to create a system capable of creating itself as an autonomous being by just creating its environment necessities of interaction with the milieu, guiders of its movement in space. Notwithstanding, to be reasonable that an artificial system performs movements that reflect the living nature of movement, what we search to focus here is the capacity of this system to face organization mechanisms, intended in robotic structures, so as to constitute, by itself, other adaptative mechanisms capable of performing movements determinate by autonomous organization necessities in space. We bring to light this issue, having some considerations that System Theory estimates as fundamental for thinking life in its organizative dimension, in which complexity is constituted as the nature of its organization and differentiates itself from the events that occur according to the law of linear cause and effect. Causality, in this theoretical context, is conceived as circular, in which events are transformed and determinate in their time ordination and variation. Life, in its organizative activity, being a complex nature, is introduced as own order of its movements. As an effect of interactive processes, life evolves, in its capacities of interaction in space, and in assimilating by the milieu the events that are constituted, interactingly, as action environment.

This study uses Bergson's concepts of duration and spontaneous (now termed episodic) memory to reveal how musical material in Rachmaninoff's Prelude Op. 32 No. 10 in B Minor (1910) turns back on itself in recurring remembrances of its own past, bringing the listener out of ordinary time; a process that mirrors themes both from Rachmaninoff's life, and Arnold Böcklin's Die Heimkehr, the painting that inspired this piece. Time perception slows or even suspends when one reflects on the past, either a personal past or the historical past. Musical material in the Prelude undergoes analogous time warps. In conversation with Bergson's ideas, this study illustrates the unique temporal qualities in the musical language of the Prelude, for which standard forms of analysis fail to completely capture the essence. The overall aim is to demonstrate Rachmaninoff's idiosyncratic approach to piano writing, which many have discredited as anachronistic. This study suggests a new methodology – Bergsonian musical analysis – with which to understand the concealed innovations in Rachmaninoff's piano idiom. This study of Rachmaninoff's B Minor Prelude builds on publications concerning other Bergsonian interpretations of music in pursuing a thorough investigation of one work and its relationship with broader issues in philosophy and visual art. The result is a theoretical engagement with the Prelude that establishes a new methodology to deal with Rachmaninoff's piano idiom in general. A Bergsonian analytical technique reveals the real artistry behind Rachmaninoff's compositions – not just remnants of some past romantic idiom, but an idiosyncratic musical grappling with the nature of time and memory.