Durant la dernière décennie, les architectures orientées services (SOA) d'une part et la gestion des processus business (BPM) d'autre part ont beaucoup évolué et semblent maintenant en train de converger vers un but commun qui est de permettre à des organisations complètement hétérogènes de partager de manière flexible leurs ressources dans le but d'atteindre des objectifs communs, et ce, à travers des schémas de collaboration avancée. Ces derniers permettent de spécifier l'interconnexion des processus métier de différentes organisations. La nature dynamique et la complexité de ces processus posent des défis majeurs quant à leur bonne exécution. Certes, les langages de description de chorégraphie aident à réduire cette complexité en fournissant des moyens pour décrire des systèmes complexes à un niveau abstrait. Toutefois, rien ne garantit que des situations erronées ne se produisent pas suite, par exemple, à des interactions "mal" spécifiées ou encore des comportements malhonnêtes d'un des partenaires. Dans ce manuscrit, nous proposons une approche décentralisée qui permet la supervision de chorégraphies au moment de leur exécution et la détection instantanée de violations de séquences d'interaction. Nous définissons un modèle de propagation hiérarchique pour l'échange de notifications externes entre les partenaires. Notre approche permet une génération optimisée de requêtes de supervision dans un environnement événementiel, et ce, d'une façon automatique et à partir de tout modèle de chorégraphie / Cross-organizational service-based processes are increasingly adopted by different companies when they can not achieve goals on their own. The dynamic nature of these processes poses various challenges to their successful execution. In order to guarantee that all involved partners are informed about errors that may happen in the collaboration, it is necessary to monitor the execution process by continuously observing and checking message exchanges during runtime. This allows a global process tracking and evaluation of process metrics. Complex event processing can address this concern by analyzing and evaluating message exchange events, to the aim of checking if the actual behavior of the interacting entities effectively adheres to the modeled business constraints. In this thesis, we present an approach for decentralized monitoring of cross-organizational choreographies. We define a hierarchical propagation model for exchanging external notifications between the collaborating parties. We also propose a runtime event-based approach to deal with the problem of monitoring conformance of interaction sequences. Our approach allows for an automatic and optimized generation of rules. After parsing the choreography graph into a hierarchy of canonical blocks, tagging each event by its block ascendancy, an optimized set of monitoring queries is generated. We evaluate the concepts based on a scenario showing how much the number of queries can be significantly reduced

Seleção de serviços em composições distribuídas considera principalmente a qualidade de serviço que atenda requisitos estabelecidos pelo usuário, como por exemplo, preço. No entanto, problemas relacionados a execução de composições de serviços podem ocorrer quando não se considera aspectos relacionados à rede e ao hardware, que afetam diretamente o desempenho da composição. Esse problema se agrava em composições coreografadas, pois a característica descentralizada requer um maior esforço para que essas informações possam ser consideradas em uma perspectiva global. Dessa forma, apesar da descentralização apresentar vantagens, é necessário que requisitos de qualidade de serviço da composição também sejam considerados em coreografias de serviços web para que a escolha de serviços para desempenhar um papel leve em consideração parâmetros importantes que podem afetar no desempenho da composição. Este trabalho apresenta um mecanismo, implementado sobre o framework OpenKnowledge, para selecionar serviços web em ambientes coreografados considerando primeiramente estimativas de atraso, taxa de perda e por fim considera a utilização de outros parâmetros, como utilização de CPU. Os primeiros experimentos em diferentes cenários de rede confirmaram as vantagens da proposta em relação a um seletor de serviços que ignora aspectos relacionados com a rede. Obteve-se ganhos de 20 a 97% no que diz respeito ao tempo total da execução da coreografia. Em seguida, experimentos inserindo utilização de CPU na escolha dos serviços confirmaram as vantagens de utilização de diferentes parâmetros para seleção de serviços em coreografias. / Selection of services in distributed compositions mainly considers the quality of service that meets requirements set by the user, such as price. However, problems related to the execution of service compositions may occur when aspects related to network and hardware, which directly affect the performance of the composition, are not taken in consideration. This problem is aggravated in choreographed compositions because the decentralized feature requires a greater effort so that this information may be considered in a global perspective. Thus, despite the decentralization advantages, it is necessary that the service quality requirements of the composition may also be considered in the choreography of web services so that the choice of services may play a role that takes into account important parameters, which can affect the performance of the composition. This dissertation presents a mechanism, implemented on the OpenKnowledge framework, to select web services in choreographed environments. First, considering delay estimates, loss rate and finally the use of other parameters, such as CPU utilization. The first experiments on different network scenarios confirmed the proposal advantages in relation to a selection mechanism that bypasses aspects of the network. It was obtained gains from 20% to 97% considering the total time of execution of the choreography. Then, experiments inserting CPU utilization in the choice of services confirmed the advantages of using different parameters for selection of services in choreography.

The aim of the thesis is to analyse and compare two mass gymnastic exercises in terms of spatial choreography, the Spartakiade exercise for younger pupils from 1980 and the mass exercise of the Czech Association of Sport for all teenage pupils, girls and boys from 2012 called Between stars. The thesis also maps the development of mass gymnastic exercises in Czechoslovakia and later in the Czech Republic and generally describes the mass gymnastic exercise and the principles of its creation. The practical part of the work deals with Spartakiade exercise for younger pupils from 1980 and mass exercise of the Czech Association of Sport for all teenage pupils, girls and boys from 2012. The aim of the practical part is to characterise and compare the synchronised exercises in terms of place of the exercise, number of participants, sex, length of the exercise, background music and its intelligibility for the given age, clothing, equipment, spatial choreography and movement difficulty for individuals as well as evaluate content based on creation principles. KEYWORDS mass gymnastic exercise, Spartakiade, the Sokol Slet ( mass gathering of gymnasts organised by the Czech Sokol Movement ), younger teenage pupils, choreography

Made available in DSpace on 2016-04-26T18:12:33Z (GMT). No. of bitstreams: 1 Bruno Farias de Mello Freire.pdf: 34443456 bytes, checksum: f03750c2606d2f59d70e613a15ba5bb7 (MD5) Previous issue date: 2012-11-22 / Fundação de Amparo a Pesquisa do Estado de São Paulo / In the era of mobile communication, television is adapting. Viewers watch TV in transit on portable devices. New technologies diversify communication, providing more free and democratic practices. However, the most influential opinion makers still focus on the same platforms of yore. Some datas shows that 75% of Brazilians have on open TV their main source of information about politics (BAVA, 2010). Increasingly, TV acts body-to-body, inserting itself in daily life, promoting a dance of habits. The hypothesis of this project is that we are being choreographed by our daily contact with television, which also teaches us what an artist is and how art should be. We use the concept of social choreography (HEWITT, 2005) to argue that the values prevailing in society and choreography alter our bodily habits, inside and out television. This hypothesis is based on two themes: the understanding that there is a co-dependency between body and environment, explained by the Corpomídia s Theory (KATZ and GREINER, 2004), and that the mediations involved there go towards BARBERO s proposal (1997). In contemporary society, the profession of an artist has lost the ability to have a concrete social status (AGAMBEN, 1974/2012), making it an abstract adjective that can be applied to anyone. The object of the research is the program schedule of TV Globo, SBT and Record, and his goal, to investigate the social choreography they promote regarding the understanding of what an artist is. The second chapter makes a poetic exercise that proposes a form of relationship between art and communication. The third chapter is a pilot project for TV, a possibility of intervention and development of academic s issues inside society / Na era da comunicação móvel, a televisão está se adaptando. Telespectadores assistem tevê no trânsito, em aparelhos portáteis. As novas tecnologias diversificam a comunicação, propiciando práticas mais livres e democráticas. No entanto, os mais influentes formadores de opinião ainda se concentram nas mesmas plataformas de outrora. Dados revelam que 75% dos brasileiros têm na TV aberta sua principal fonte de informação sobre política (BAVA, 2010). Cada dia mais, a tevê atua corpo-a-corpo, inserindo-se no cotidiano, promovendo uma dança dos hábitos. A hipótese desta dissertação é a de que estamos sendo coreografados pelo nosso contato diário com a televisão, que também nos ensina o que é um artista e como a arte deveria ser. Usamos o conceito de coreografia social (HEWITT, 2005) para sustentar que os valores praticados em sociedade coreografam e alteram nossos hábitos corporais, dentro e fora da televisão. Esta hipótese fundamenta-se em dois eixos teóricos: no entendimento de que há uma co-dependência entre corpo e ambiente, conforme explica a Teoria Corpomídia (KATZ e GREINER, 2004), e de que as mediações aí implicadas vão na direção do que propõe BARBERO (1997). Na sociedade contemporânea, a profissão de artista perdeu a possibilidade de ter um estatuto social concreto (AGAMBEN, 1974/2012), tornando-se um adjetivo abstrato, que pode ser aplicado a qualquer um. O objeto da pesquisa é a grade de programação das TVs Globo, SBT e Record, e seu objetivo, o de investigar a coreografia social que elas promovem no que diz respeito ao entendimento do que é um artista. O segundo capítulo realiza um exercício poético que propõe uma forma de relacionamento entre arte e comunicação. Já o terceiro capítulo é um projeto piloto para Tv, uma possibilidade de elaboração e intervenção das questões da academia na sociedade

This thesis is an interdisciplinary study of the aesthetics of movement in Gilles Deleuze’s writings and in Merce Cunningham’s choreographies. But it is also a study of the movement that arises when the two meet in a series of variations, where also their respective working partners Félix Guattari and John Cage enter. It is a textual happening where the random juxtaposition between seemingly unrelated areas, philosophy and dance, gives rise to arbitrary connections. It is a textual machine, composed of seven parts. First, the methodological architecture of the juxtaposition is introduced and it is shown how this relates to the materials (the philosophy of Deleuze and the aesthetics of Cunningham), the relation between the materials, and the respective contexts of the materials. The presence of movement in Deleuze’s thinking is then presented and the figure of immobile movement is defined. This figure is a leitmotif of the analyses. It is argued that this figure of immobile movement is not only a stylistic element but has implications on a philosophical level, implications that materialise in Deleuze’s texts. Then follow four parts that build a heterogeneous whole. The analysis of movement is continued through four juxtapositions of particular texts and particular choreographies. Through these juxtapositions, different aspects of movement appear and are discussed: the relation between movement and sensation, movement in interaction with other arts, movement as a means of taking the body to its limit, movement as transformation. Through these analyses, the aesthetics of Cunningham is put into new contexts. The analyses also put into relief Deleuze’s use of figures of movement, and these suddenly acquire another kind of importance. In the seventh and concluding part, all this is brought into play.

Service-oriented engineering is an emerging software development paradigm for distributed collaborative applications. Such an application is made up of several entities abstracted as services, each of them being for example a Web application, a Web service, or even a human. The services can be developed independently and are composed to achieve common requirements through interactions among them. Service choreographies define such requirements from a global perspective, based on interactions among a set of participants. This thesis aims to formalize the problems and attempts to develop a framework by which service choreographies can be developed correctly for both top-down and bottom-up approaches. It consists in analyzing the relation between a choreography specification and a choreography implementation at both model level and real implementation level. Particularly, it concerns the composition/decomposition service design, the verification, and the testing of choreography implementation. The first key point of our framework is to support value-passing among services by using symbolic technique and SMT solver. It overcomes false negatives or state space explosion issues due by abstracting or limiting the data domain of value-passing in existing approaches. The second key point is the black-box passive testing of choreography implementation. It does not require neither to access to source codes nor to make the implementation unavailable during the testing process. Our framework is fully implemented in our toolchains, which can be downloaded or used online at address: http://schora.lri.fr.

A TALK ABOUT ROLES IN A SETTING (2015) is a performative work by the artist Johan Lundin. A choreographed presentation is performed for 12 participants in a scenography describing public and private environments. The production process and performance of the work is describing how roles and circumstances change when an environment is observed through a perspective where fiction is allowed to be used as methodology to engineer new reality images. Through the terms role and setting this publication is focusing on describing how the visual image of the body and its movement has an influence on how identity and gender is constantly formed in relation to the place's historical, social and cultural contexts. / A TALK ABOUT ROLES IN A SETTING (2015) är ett performativt verk av konstnären Johan Lundin. En koreograferad presentation framförs för 12 deltagare i en scenografi som beskriver offentliga och privata miljöer. Verkets process och framförande skildrar hur roller och förutsättningar ändras när en miljö observeras genom ett perspektiv där fiktion tillåts användas som metodik för att iscensätta nya verklighetsbilder. Genom termerna roll och setting sätts i den här publikationen fokus vid att beskriva hur den visuella bilden av kroppen och dess rörelse har inflytande för hur identitet och genus ständigt formas i relation till platsers historiska, sociala och kulturella sammanhang. / <p>ISBN: 978-91-982605-0-2 (Print) ISBN: 978-91-982605-1-9 (Digital) Print / Tryck: Johan Lundin, Stockholm, 2015</p>

Cette thèse est d’une approche ethnographique de la notion de l’acte de marcher et son application dans la danse, avec en particulier les pratiques créatives de la chorégraphe taiwanaise Lin Leechen林麗珍, issues de la pensée et de la culture chinoises. L’objectif principal est, d’une part, de saisir les caractéristiques de ce mouvement dans la danse et comment cette action de locomotion a inspiré les chorégraphes ; d’autre part, de connaître ses interprétations et ses valeurs dans le travail de Lin Leechen, ce qui se présente comme un exemple de cette problématique. La procédure utilisée est l’analyse de l’application de l’acte de marcher dans quatre formes de spectacles, dans des créations chorégraphiques contemporaines et dans les conceptions personneless des chorégraphes de notre époque. Pour atteindre l’objectif fixé, nous nous penchons d’abord sur les liens de ce geste avec l’ être humain, son corps et ses usages dans la vie quotidienne, puis sur la pratique de ce mouvement dansant et son interprétation dans des créations chorégraphiques et dans des entretiens de chorégraphes. Nous analysons enfin des entraînements à la marche de Lin Leechen et ses principes phrases chorégraphiques utilisant la marche dans sa trilogie de création : Jiào醮 (Miroirs de vie), Huā shénjì花神祭 (Hymne aux fleurs qui passent). Quān觀 (Chants de la destinée). / This thesis is the result of ethnographic research into the act of walking, its application in dance and practical implementation in the creations of Taiwanese choreographer Leechen Lin, which draw on Chinese philosophy and culture. The main objective is to understand how the movement is used in dance and how it inspires choreographers. It also explains how it is interpreted and its value in the work of Leechen Lin, presented as an illustration. The approach is to analyse the act of walking in four types of representation in contemporary choreography and from the personal perspective of contemporary choreographers. It first explores how human beings relate to walking in terms of their body and use in everyday life, and then how the movement is integrated into dance and interpreted in choreographers' creations and perspectives. Finally, it analyses Leechin Lin's coaching of walking and choreographic phrases in her trilogy.

This scientific research, conducted in the context of "Training, knowledge and professional development" Research Line, at the Doctorate Course on Education at the Graduate Program in Education at the Federal University of Santa Maria (UFSM), continues and extends the previous master research named "Between the Classroom and the Virtual: Movement Towards New Knowledge of higher education teaching" (BARBIERO, 2013). The study is the identification of two new knowledge of higher education: one is related to educational possibilities on the web, and the other is related to the use/integration of ICT on teaching-learning process; named as pedagogical-technological knowledge (PTK). We devise the thesis that the PTK, having its origin in the initial formation of the university professor and developed in classroom teaching, is improved on virtual teaching. The objective oj this research is to investigate the genesis and development of PTK of teachers in Archival Science (UFSM), with reference to digital culture and technological convergence. The specific objectives of the study are: mapping the configuration of PTK genisis in Archival Science (UFSM), bringing it close to ICT and the web; to characterize the configuration of PTK in Archival Science (UFSM) before virtual teaching, and to analyze the possible repercussion of virtual teaching in the [re] configuration of PTK in Archival Science (UFSM). On literature review we expanded the current knowledge of the subjec of that dissertation; deepening concepts as teacher training, teaching choreography, teaching in higher education, and studies related to contemporary sociodigital context. In this one, we approached digital culture and technological convergence, and studies on reflective collective intelligence. We have used a qualitative approach of a case study,in which, the starting point was the corpus consisting of oral interviews with teachers at the Documentation Department of UFSM, those who teach at Graduate Course in Archival Science (UFSM,) and at the Post-Graduate Course in Record Management (UAB/UFSM). The corpus received a new treatment of information, with the help of webQDA software and analytical improvement by discursive textual analysis. In the chapter of research findings, we have discussed the genesis and development of PTK in university education, in professional activities of classroom teaching, and virtual teaching. We also approached the development of Digital Technology Impermanence as characteristic of PTK in virtual teaching. / Esta investigação científica, realizada no contexto da Linha de Pesquisa Formação, saberes e desenvolvimento profissional , do Curso de Doutorado em Educação do Programa de Pós- Graduação em Educação da Universidade Federal de Santa Maria (UFSM) continua e amplia a pesquisa de mestrado do autor, Entre o Presencial e o Virtual: Movimentos em Direção a Novos Saberes da Docência Superior (BARBIERO, 2013). O estudo parte da identificação de dois novos saberes da docência superior: o saber relacionado com as possibilidades educativas da web e o saber relacionado com a utilização/integração das TDIC no processo de ensino-aprendizagem, denominados nesta tese por saberes pedagógico-tecnológicos (SPT). Nós construímos a tese de que os SPT, origináveis na formação inicial do professor universitário e desenvolvidos na docência presencial, são aprimoráveis na docência virtual. A pesquisa tem por objetivo geral: Investigar a gênese e o desenvolvimento dos SPT dos docentes em Arquivologia (UFSM), tendo como referência a Cultura da Convergência Digital e Tecnológica (CCDT). Os objetivos específicos do estudo são: Mapear a configuração da gênese dos SPT em Arquivologia (UFSM) frente à aproximação das TDIC e da web; Caracterizar a configuração dos SPT em Arquivologia (UFSM) na pré-incursão à docência virtual e Analisar as possíveis repercussões da docência virtual na [re] configuração dos SPT em Arquivologia (UFSM). Na revisão da literatura, ampliamos o conhecimento atual do tema a partir da referida dissertação, aprofundando os seguintes conceitos: formação de professores, coreografias didáticas, docência na educação superior e estudos referentes ao contexto sociodigital contemporâneo. Nesse, nós abordamos a cultura da convergência e os estudos sobre a inteligência coletiva reflexiva. Nesta pesquisa, de abordagem qualitativa, do tipo estudo de caso, o ponto de partida foi o corpus constituído por entrevistas narrativas com os professores do Departamento de Documentação da UFSM, atuantes no Curso de Arquivologia (UFSM) e no Curso de Pós-Graduação Especialização a Distância-Gestão em Arquivos (UAB/UFSM). O corpus produzido recebeu um novo tratamento das informações, com o auxílio do software webQDA e o aprimoramento analítico, mediante análise textual discursiva. No capítulo sobre os achados da pesquisa, discutimos a gênese e o desenvolvimento dos SPT na formação universitária, nas atividades profissionais, na docência presencial e na docência virtual. Ainda, nós abordamos o desenvolvimento da Impermanência Tecnológica Digital como característica dos SPT na docência virtual.

Made available in DSpace on 2016-12-08T16:03:15Z (GMT). No. of bitstreams: 1 119466.pdf: 267238 bytes, checksum: 5358a99cd828b7a71fe574cce08fec11 (MD5) Previous issue date: 2014-08-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The thesis discusses improvisation as a transformative element of the choreographer function, in dance, that reflects on collaborative processes of creation, which implies the participation of everyone involved in the work of composition, and from their artistic skills have a legitimate space for creation. The research develops a theoretical trajectory that crosses different areas, from the philosophy to the study in dance to illustrate and understand the improvisation role on the individual formation, and locate him in the experience space. Thus, it is possible to refer to the theory of "ethics of existence" and "self-care" developed by Michel Foucault, and Danielle Goldman, which suggests the improvisation practice as a practice of freedom. An analysis of the creation process is considered from multiple instances. In order to do that, this study develops a mapping of experiments and devices of procedures and collaborative processes of composition proposed by the vanguards of the 1960s, and the implications in the transformation of the concept of dance. It reflects on the improvisation phenomenon as a dance technique, as a cause of the transformation and strengthening of the collective, and its use in the creation processes with detailed analysis of the improvisation process. The concepts of language, meaning and affect are discussed to chart a course that outlines the thoughts as a choreographer, and where the dramaturgy and the meaning construction in the dance happen, in the processes one performs the choreographer function. Also, one considers in which state the dance presents and affects the imagination as a starting point for the process of invention and assembly. The aim is also to analyze the changes in the concepts of choreography, choreographer and some principles and practices pertaining to the universe composition before the panorama that is configured in the creation. Finally, in the same direction; however, with a perspective turned to the processes of two processes of assembly of Ronda Grupo, it is possible to describe parts of the proceedings of creation techniques, and the work of producing a sense, in the pieces Socorro (2008) and Lugar Nenhum (2010). Therefore, one brings for discussion the Deleuze and Guattarri s concepts of Ritornello and Fabulation as a way of questioning the creative form of improvisation and the creativity movement. / Esta tese discute a improvisação como elemento transformador da função do coreógrafo na dança que reflete em processos colaborativos de criação, que pressupõe a participação de todos os envolvidos no trabalho de composição que a partir de suas competências artísticas tem espaço legítimo para criação. A pesquisa desenvolve uma trajetória teórica que atravessa campos distintos, da filosofia para a pesquisa em dança para ilustrar e compreender o papel da improvisação na formação do sujeito e situá-lo no espaço da experiência. Para isso faz referência à teoria da ética da existência e o cuidado de si elaborados por Michel Foucault, e à Danielle Goldman, que sugere a prática da improvisação como uma prática de liberdade. A análise do processo de criação é considerada a partir de várias instâncias e, para isso, este estudo faz um mapeamento das experiências e dos dispositivos de procedimentos e processos colaborativos de composição propostas pelas vanguardas da década de 60 e suas implicações na transformação da noção de dança. Reflete sobre o fenômeno da improvisação como técnica de dança e como causa da transformação e do fortalecimento dos coletivos e do seu uso nos processos de criação, com a análise detalhada do processo da improvisação. Os conceitos de linguagem , sentido e afecto são discutidos para traçar um percurso que delineia o meu pensamento enquanto coreógrafa e por onde se dá a dramaturgia e a construção de sentido na dança nos processos onde exerço a função de coreógrafa. Além disso, considero em que estado a dança se apresenta a mim e afeta a minha imaginação como ponto de partida para um processo de invenção e de montagem. Busco, ainda, analisar as transformações nos conceitos de coreografia, de coreógrafo e alguns princípios e práticas pertencentes ao universo de composição diante do panorama que se configura na criação. Por fim, nesta mesma direção, porém com uma perspectiva voltada para os processos de duas montagens do Ronda Grupo, descrevo partes dos procedimentos das técnicas de criação e do trabalho de construção de sentido nos espetáculos Socorro (2008) e Lugar nenhum (2010). Para tanto, trago para a discussão os conceitos de Ritornelo e Fabulação de Deleuze e Guatarri como forma de problematizar a forma criativa da improvisação, ou o movimento da criatividade.