Submitted by Odilio Hilario Moreira Júnior (odilio@espm.br) on 2016-11-28T16:54:53Z No. of bitstreams: 1 Maria Aparecida da Silva Matuck.pdf: 18322720 bytes, checksum: 88d4e855485266179305add92dce19eb (MD5) / Approved for entry into archive by Odilio Hilario Moreira Júnior (odilio@espm.br) on 2016-11-28T16:55:02Z (GMT) No. of bitstreams: 1 Maria Aparecida da Silva Matuck.pdf: 18322720 bytes, checksum: 88d4e855485266179305add92dce19eb (MD5) / Approved for entry into archive by Debora Cristina Bonfim Aquarone (deborabonfim@espm.br) on 2016-11-28T16:55:41Z (GMT) No. of bitstreams: 1 Maria Aparecida da Silva Matuck.pdf: 18322720 bytes, checksum: 88d4e855485266179305add92dce19eb (MD5) / Made available in DSpace on 2016-11-28T16:56:01Z (GMT). No. of bitstreams: 1 Maria Aparecida da Silva Matuck.pdf: 18322720 bytes, checksum: 88d4e855485266179305add92dce19eb (MD5) Previous issue date: 2008-03-17 / We live in a post-modern world. As such, this world features countless characteristics that can be noticed in the various aspects of the contemporary society. One of them is advertising. Therefore, this work will focus on some of the characteristics of the postmodernity applied to the context of advertising. Objectively, this application is named here as the use of specific characteristics of printed media. This dissertation discusses, thus, the creative strategy that uses the specific characteristics of printed media (newspapers and magazines) in the language of advertising. Specific characteristics are understood as the physical elements of newspaper and magazine support, such as paper grammage, book spine, the staples of a magazine, etc. used in ads. Therefore, this work highlights ads in newspapers and magazines with an unusual format, that is, which go beyond the mainstream format of ads. This creative strategy makes use of several characteristics of post-modernity that are analyzed in the selected corpus, composed by more than a hundred ads. In a certain historical moment, the use of this creative strategy becomes frequent, influenced by several factors that are studied considering the evolution of printed ads in Brazil. Finally, with a methodology that systematizes common aspects in a group of possibilities, a taxonomy that considers the different specifications for the use of newspapers and magazines; the production factors; the creative resources and the exploration of the senses. / Vivemos num mundo pós-moderno. Como tal, este mundo apresenta inúmeras características que podem ser verificadas nos muitos aspectos da sociedade contemporânea, um deles é a publicidade. Assim, este trabalho vai focalizar algumas das características da pós-modernidade aplicadas ao contexto da publicidade. Objetivamente, essa aplicação foi aqui denominada de uso das características específicas do meio impresso. Esta dissertação discute, portanto, a estratégia criativa que usa as características específicas dos meios impressos jornal e revista no discurso publicitário. Como características específicas vamos entender os elementos físicos do suporte jornal e revista, como a gramatura do papel, a lombada, os grampos de uma revista etc. usados no anúncio publicitário. O trabalho destaca, portanto, a publicidade veiculada em jornais e revistas com formato diferenciado, ou seja, que extrapola o formato padrão de anúncio. A estratégia criativa em questão utiliza várias características da pós-modernidade que são analisadas no corpus selecionado, composto por mais de cem anúncios publicitários. Em determinado momento histórico, o uso desta estratégica criativa torna-se freqüente, por influência de vários fatores, que são estudados considerando a evolução do anúncio publicitário impresso no Brasil. Por fim, através de uma metodologia que sistematiza aspectos comuns em um conjunto de possibilidades é apresentada uma taxionomia que considera as diferentes especificidades de aproveitamento do meio jornal e revista; os fatores de produção; os recursos criativos e a exploração dos sentidos.

La défense juridique des éléments de l'œuvre audiovisuelle est un domaine complexe où le sort du contentieux dépend en grande partie du choix stratégique que l'avocat adopte pour défendre les intérêts économiques ou moraux des titulaires de droits sur l'œuvre audiovisuelle. Le constat est que tous les éléments de l'œuvre audiovisuelle ne peuvent prétendre être défendus systématiquement par le biais d'une seule et même action. Cette défense peut être assurée par le biais de deux voies : la défense au regard du droit spécial de la propriété intellectuelle (droit des marques, droit d'auteur, droits voisins) ou celle au regard des régimes de mise sous responsabilité pour faute. La stratégie de défense retenue est liée en grande partie à la nature de l'élément de l'œuvre audiovisuelle que l'avocat doit défendre. L'action en contrefaçon au titre du droit d'auteur permet, sous certaines conditions, de protéger et de défendre les droits afférents aux formats télévisés, aux scénario audiovisuels, aux synopsis, aux titres, aux péripéties principales d'un film ou encore aux personnages de celui-ci. Elle permet également de sanctionner la reproduction servile d'une œuvre audiovisuelle. Des exceptions au droit d'auteur permettent également d'exclure toute caractérisation d'un grief de contrefaçon lorsque l'avocat est chargé de prouver que son client n'est pas contrefacteur. Le producteur de vidéogramme, les acteurs, les comédiens et les chaînes de télévision détiennent des droits voisins sur l'œuvre audiovisuelle. Parallèlement à ces actions conférées par le droit d'auteur et ses droits voisins, l'avocat dispose d'autres voies de défense. Ainsi, la voie de l'action en contrefaçon de marques lui permet de défendre les droits afférents à un titre, à un personnage ou encore aux produits dérivés de l'œuvre audiovisuelle. A côté de ses régimes juridiques de droit privatif, coexistent l'action en concurrence déloyale ou en sanction des agissements parasitaires, ainsi que le régime spécial de mise sous responsabilité des hébergeurs. A noter enfin que, si l'avocat souhaite défendre des éléments spécifiques de l'œuvre audiovisuelle, une stratégie particulière peut être retenue. Celle-ci peut être notamment intentée sur le double fondement juridique de la contrefaçon et de la concurrence déloyale ou parasitaire lorsque l'avocat décide de cumuler ces deux actions. Pour autant, il appartient à ce dernier de prouver l'existence d'un fait distinct de la contrefaçon, ce qui, comme nous l'avons vu, est une preuve délicate à rapporter. Cependant, cette stratégie peut permettre d'augmenter le montant des dommages et intérêts. / The legal defense of the elements of the audiovisual work is a complex domain where dispute depends on the strategic choice adopted by the lawyer to defend the economic or moral interests of the holders of rights. The report is that all the elements of the audiovisual work cannot claim to be systematically forbidden by means of one and the same action. This defense can be assured insured trough two ways: the defense with the special law of the intellectual property (brands, copyright, related rights) or with regimes of responsibility which requires fault. The strategy of defense is largely connected to the nature of the element of the audiovisual work that the lawyer would protect. Infringement proceedings allows, under conditions, to protect and to defend rights relative to "formats", to audiovisual scenarios, to the synopses, to the titles, to the main events of a movie or still to the characters of this one. She also allows to punish the reproduction of a audiovisual work. Exceptions in the copyright allow to exclude any characterization of a grievance of imitation when the lawyer is in charge of proving that his customer is not a counterfeiter. It is the case of the exception of short quotation, analysis, parody or still the educational exception. The producer of videogram, the actors, the comedians and the television channels detain similar rights on the audiovisual work. At the same time as these actions conferred by the copyright and its similar rights, the lawyer can arrange other ways of defense. So, the way of the action in trademark infringement allows him to defend the rights relative to a title, to a character or still to by-products of the audiovisual work. The action in unfair competition or in penalty of the parasitic actions can be used, as well as the special regime of putting under responsibility of hosts. Finally, if the lawyer would defend specific elements of audiovisual work, a particular strategy can be retained. This one can be instituted with the double legal foundation of the imitation and the unfair or parasitic competition if the lawyer decides to accumulate these two actions. However, it is up to the latter to prove the existence of a fact different from the imitation. But it is delicate to report this proof. However, this strategy can allow increase the amount of the damages

A dominant source of Internet traffic, today, is constituted of compressed images. In modern multimedia communications, image compression plays an important role. Some of the image compression standards set by the Joint Photographic Expert Group (JPEG) include JPEG and JPEG2000. The expert group came up with the JPEG image compression standard so that still pictures could be compressed to be sent over an e-mail, be displayed on a webpage, and make high-resolution digital photography possible. This standard was originally based on a mathematical method, used to convert a sequence of data to the frequency domain, called the Discrete Cosine Transform (DCT). In the year 2000, however, a new standard was proposed by the expert group which came to be known as JPEG2000. The difference between the two is that the latter is capable of providing better compression efficiency. There is also a downside to this new format introduced. The computation required for achieving the same sort of compression efficiency as one would get with the original JPEG format is higher. JPEG is a lossy compression standard which can throw away some less important information without causing any noticeable perception differences. Whereas, in lossless compression, the primary purpose is to reduce the number of bits required to represent the original image samples without any loss of information. The areas of application of the JPEG image compression standard include the Internet, digital cameras, printing, and scanning peripherals. In this thesis work, a simulator kind of functionality setup is needed for conducting the objective quality assessment. An image is given as an input to our wireless communication system and its data size is varied (e.g. 5%, 10%, 15%, etc) and a Signal-to-Noise Ratio (SNR) value is given as input, for JPEG2000 compression. Then, this compressed image is passed through a JPEG encoder and then transmitted over a Rayleigh fading channel. The corresponding image obtained after having applied these constraints on the original image is then decoded at the receiver and inverse discrete wavelet transform (IDWT) is applied to inverse the JPEG 2000 compression. Quantization is done for the coefficients which are scalar-quantized to reduce the number of bits to represent them, without the loss of quality of the image. Then the final image is displayed on the screen. The original input image is co-passed with the images of varying data size for an SNR value at the receiver after decoding. In particular, objective perceptual quality assessment through Structural Similarity (SSIM) index using MATLAB is provided.

A agricultura demanda grande quantidade de água para a produção de alimentos e fibras. Técnicas que determinem e monitorem a dinâmica da água no solo são importantes para promover o uso correto e consciente desse recurso natural. Diante do exposto, a tensiometria é uma ferramenta eficiente na determinação da dinâmica da água em solos agrícolas, podendo ser utilizada em conjunto com sensores de capacitância para a caracterização da curva de retenção de água no solo. Contudo, apesar de práticos, erros associados à instalação e às características das cápsulas podem comprometer a precisão dos tensiômetros. Esse trabalho teve como objetivo testar a influência do uso de lama de solo no momento da instalação, bem como o formato e condutância hidráulica de cápsulas de tensiômetros de punção sobre o potencial matricial da água no solo, tendo-se como referência tensiômetros com manômetro de mercúrio. Também, se objetivou determinar a curva de retenção de água no solo com base nos dados obtidos por tensiometria e de um sensor de capacitância. Os resultados mostram que o formato das cápsulas de cerâmica e a lama de solo influenciaram as determinações do potencial matricial, ao contrário da condutância hidráulica das cápsulas. A lama de solo é indicada na instalação de tensiômetros com manômetro de mercúrio e de punção. As curvas de retenção diferiram quanto aos sistemas de aquisição (manômetro de mercúrio ou tensímetro); no entanto, o modelo ajustado não foi sensível em distinguir diferenças entre os tratamentos quanto ao formato das cápsulas ou uso de lama de solo. De modo geral, ocorreu uma subestimativa dos ajustes das curvas de retenção para os tensiômetros de punção, o que pode levar a interpretações errôneas das curvas de retenção de água no solo quando determinadas por meio desses instrumentos. / The agriculture demand large amounts of water for food and fiber production. The techniques used to determine and monitor the water dynamics in the soil are important to promote the correct and conscious use of this natural resource. Given the above, the tensiometry is an efficient tool for the determination the water dynamics in soils, which can be used in conjunction with capacitance sensors to characterize the water retention curve in the soil. However, although practical, errors associated with the installation and the characteristics of the capsules may compromise the accuracy of tensiometers. This study aimed to test the influence of the use of soil slurry during the tensiometer installation, the format and hydraulic conductance of the capsules from puncture tensiometers on the matric potential of soil water, taking as reference tensiometers equipped with mercury manometers. In addition, aimed to determine the soil-water retention curve based on data obtained by tensiometry and a capacitance sensor. The results shows that the format of the ceramic capsules and the use of the slurry influenced the measurements of matric potential, as opposed to hydraulic conductance of the capsules. The soil slurry is recommended for tensiometers equiped with mercury manometer and puncture tensiometers. The retention curves differed among the acquisition systems (mercury manometer or tensimeter); however, the fitted model was not sensitive enough to distinguish differences between treatments for the format of the capsules or the use of soil slurry. In general, there was an underestimation of the retention curve for puncture tensiometers, which can lead to erroneous interpretations of the soil-water retention curve when determined by these instruments.

Já não vemos a possibilidade de sustentar a ideia do formato notícia como o produto final da cadeia de produção jornalística digital. O desajuste que aqui enxergamos não está na notícia, ou em sua estrutura tradicional, ou em sua função social, mas no seu entendimento como produto final, como efeito de uma causa, como desfecho, epílogo ou conclusão de um processo. O desajuste está no termo final, que pressupõe um início. Já não vemos o formato narrativo digital como um produto hereditário de uma cadeia linear e fechada de produção no jornalismo. No lugar do controle e da linearidade, proporemos neste estudo observar a produção narrativa dentro de um processo circular típico do jornalismo pós-industrial. Em vez de fechamentos de formatos estáticos, notaremos continuidades com formatos adaptativos e mais leveza e imponderabilidade no lugar de estruturas narrativas rígidas e sólidas. Esse é, de fato, um estudo que abraça o desconforto e a beleza das incertezas que nascem da relação forma-conteúdo-tela das narrativas digitais no jornalismo. O que nos interessará aqui será criar um instrumento teórico para lidar com essa condição complexa. Assim, propomos um modelo teórico capaz de expandir a compreensão do que seja a narrativa digital jornalística, inaugurando um modo sistêmico de se pensar o desenho das narrativas no jornalismo digital e fornecendo assim um entendimento novo para este fenômeno. Neste estudo o termo \"narrativa\" não irá, portanto, se referir apenas ao que vemos nas telas de nossos dispositivos tecnológicos. Expandimos neste trabalho a perspectiva da narrativa clássica que toma a narrativa jornalística como o agenciamento dos fatos e a colocamos como agenciamento coletivo entre os estratos do sistema narrativo ou, de forma mais reduzida, assumimos a narrativa como sistema narrativo. Expansão, aqui, significa dilatação da visão e não negação ou discordância em relação às construções e percursos teóricos que precedem esta pesquisa. Para a construção do modelo teórico, partimos da narratologia pós-clássica, da moderna teoria dos sistemas e do modelo JDBD (Jornalismo Digital de Base de Dados). Observamos, nesta jornada, que o agenciamento entre os estratos do sistema narrativo realiza-se de forma coletiva por diversos atores: jornalistas, engenheiros, designers, webmasters, especialistas em negócios, arquitetos de informação, usuários, robôs, softwares, algoritmos, entre muitos outros; e que o jornalista atua sobretudo nas camadas de frontend do sistema. Familiarizando-se com camadas mais subterrâneas do sistema narrativo, a antenarrativa (dados e metadados), o jornalista abre oportunidades para melhor comunicar suas histórias no ciberespaço, interfaceando formatos que provoquem experiências ricas para suas audiências. Em nosso entendimento, o jornalista é, portanto, potencialmente um designer da experiência narrativa. / We no longer see the digital narrative format as a product of a linear hereditary and closed production in digital journalism. We no longer see the the form of news, their format, what we see in the screens, as a final product. The imbalance that we see here is not in the news itself or in its traditional structure, or even in its social function, but in understand it as an end product, as an effect or a cause, as an outcome, the epilogue or the conclusion of a process. The misfit is in this notion: the end, which implies a beginning. nstead of control and linearity, we propose in this study to observe the storytelling production inside a circular process, a loop that is typical of a post-industrial journalism. Instead of closing static formats, we will notice continuities with adaptive shapes. More lightness and weightlessness rather than rigid and solid narrative structures. In fact, this is a study that embraces both the discomfort and the beauty of the uncertainties that arise from the relationship between forms, contents and screens when we analyse digital storytelling in journalism context. What concern us here shall be create a theoretical apparatus to address this complex condition. In this way, this study opens up a systemic way to think about the design of narratives in digital journalism and thus provide a new insight of this phenomenon. The term storytelling will not, therefore, refer only to what we see on the screens of our technological devices. Here we expand the perspective of classical narrative (the arrangement of the events) and place it as the collective assemblage among the strata of narrative system. Or in other words: in this study, narrative is narrative system. It is worth to emphasize that when we say \" expansion of perspective,\" we mean dilation of vision and no denial nor disagreement with the theoretical constructs and pathways that precede this research .For the construction of the theoretical model, we start from the post-classical narratology, the modern theory of systems and the JDBD model. We observed, in this journey, the arrangement of the narrative system is held collectively by several actors: journalists, engineers, designers, webmasters, business specialists, information architects, users, robots, software, algorithms, among many others. And the journalist operates in some of the strata of the storytelling system, especially in the frontend layers. If familiar with subterranean layers of narrative system, the antenarrative (data and metadata), journalists provide opportunities to better communicate their stories in cyberspace, interfacing formats which cause rich experiences for its audiences. In our understanding, the journalist is potentially a narrative experience designer.

Due to the successful application in internet related fields, Extensible Markup Language (XML) and its related technologies are being explored as a revolutionary software file format technology used to provide increased interoperability in the discrete-event simulation (DES) arena. The National Institute of Standards and Technology (NIST) has developed an XML-based information model (XSD) called the Shop Data Model (SDM), which is used to describe the contents of a neutral file format (NFF) that is being promoted as a means to make manufacturing simulation technology more accessible to a larger group of potential customers. Using a two step process, this thesis evaluates the NIST SDM information model in terms of its ability to encapsulate the informational requirements of one vendor's simulation model information conceptually and syntactically in order to determine its ability to serve as an NFF for the DES industry. ProModel Corporation, a leading software vendor in the DES industry since 1988, serves as the test case for this evaluation. The first step in this evaluation is to map the contents of ProModel's information model over to an XML schema file (XSD). Next, the contents of this new XSD file are categorized and compared to the SDM information model in order to evaluate compatibility. After performing this comparison, observations are made in relation to the challenges that simulation vendors might encounter when implementing the proposed NIST SDM. Two groups of limitations are encountered which cause the NIST SDM to support less than a third of the ProModel XSD elements. These two groups of limitations are: paradigm differences between the two information models and limitations posed due to the incomplete status of the NIST SDM specification. Despite these limitations, this thesis shows by comparison that XML technology does not pose any limitation which would invalidate its ability to syntactically represent a common information model or associated XML NFF. While only 28% of the ProModel element are currently supported by the SDM, appropriate changes to the SDM would allow the information model to serve as a foundation upon which a common information model and neutral file format for the DES industry could be built using XML technologies.

Cette thèse porte sur la modélisation et l'apprentissage automatique des préférences, dans le contexte industriel de l'impression en grand format. En particulier, nous nous intéressons à l'automatisation de la configuration d'impression. De par la palette des comportements possibles, cette fonctionnalité n'est triviale, ni à concevoir, ni à utiliser. Nous proposons une nouvelle approche pour en améliorer les deux aspect complémentaires : évolutivité et utilisabilité. Notre réalisation principale est un système de recommandation adaptatif, basé sur trois contributions originales : une modélisation de la configuration d'impression grand format à partir d'un modèle de préférence, sous la forme de problèmes d'optimisation sous contraintes, un modèle des préférences de l'imprimeur, sous la forme de fonctions d'utilité additive linéaires par morceaux, basée sur une famille d'attributs adaptée, un algorithme d'apprentissage automatique d'ordonnancements à partir de données comparatives. Basé sur l'algorithme rankSVM (noyau linéaire), notre méthode d'apprentissage permet d'adapter la complexité de l'espace de description des données, tout en conservant la linéarité

My study is motivated by standard setters interest in better understanding (and the gap in research as to) the effects of item complexity and disaggregation across a financial statement on users' decision processes (Bonner 2008; Glaum 2009; FASB 2010b). I examine whether complexity of an item and the method used to present the item on a financial statement influences nonprofessional investors' judgments. Specifically, I examine two issues raised concerning IAS 19 Employee Benefits. The first is to examine whether there are differences in nonprofessional investors' judgments when individual components of a complex item (defined pension cost) are disaggregated across a financial statement (the statement of comprehensive income) versus when individual components of a complex item are aggregated on the face of the same statement. Differences may arise since disaggregation across a statement provides information about how an item relates to different economic events and this information could help nonprofessional investors to better interpret and use the information in judgments. A second objective is to examine whether increasing the complexity of an already complex item affects the usefulness of information. I find that nonprofessional investors weigh higher levels of item complexity in certain judgments. Additionally, I find that when a complex item (defined pension cost) is disaggregated across a financial statement (the statement of comprehensive income) nonprofessional investors are able to acquire more information about the item and are able to more accurately understand the function of the item. This, in turn, helps the nonprofessional investors decide whether the information is useful in certain judgments.

Since TV became the most influential medium globally, the media content followed and as a result, a variety of programmes became international. When it came to entertainment, reality game show Survivor became a pioneer in crossing national borders when the programme’s format was licensed and sold worldwide. The ability of a single reality TV show format to appeal to different nations is remarkable and noteworthy, which consequently makes it an interesting field of research. Therefore, this essay focuses on analysing the narrative structures of the Survivor format productions in Sweden, the USA and Russia in pursuance of revealing representations and reproductions of the nations. It answers the questions about the narrative structures of the programmes, as well as about their common construction, and describes how the national identities are portrayed in a transnational reality game show format. In order to make the study extensive but at the same time significant, a structural narrative analysis with a comparative approach was chosen as a method. The selection was based on the importance of analysing the content of narratives in order to comprehend their illustrations of reality and, among other things, national identities. Mainly referring to a theory of nations as “imagined communities” and a theory about “banal nationalism”, the essay presents an analysis of the narrative structures. These structures, in their turn, expose the nation-specific elements that represent and reproduce the idea of nation. It is argued that national expressions are in general based on traditions and rituals of the nations. These representations are frequently unnoticed in everyday life; however they become noteworthy in the context of reality TV game shows such as Survivor.

Des méthodes de modulation et de détection de la lumière originales ont été étudiées afin d'améliorer la performance des systèmes de transmission optique longue distance. Des formats de modulation multiplexés en polarisation, utilisant plusieurs niveaux de phase ont été étudiés en particulier. La détection cohérente associée à un traitement numérique du signal a également été choisie au niveau de la réception afin d'optimiser la performance du système. Cela permet notamment de compenser de façon très efficace les distorsions linéaires introduites par la propagation dans le fibre optique, telles que la dispersion chromatique et la dispersion modales de polarisation. Après propagation sur grande distance, le rapport signal à bruit devient une limitation importante. L'autre limitation provient des interactions non linéaire entre la lumière et la fibre optique qui limitent la puissance maximale que l'on peut injecter dans la fibre optique.La première transmission multiplexée en longueur d'onde sur grandes distances (>1000km) utilisant la détection cohérente a notamment été démontrée.Afin de minimiser l'impact de ces effets non linéaires, différentes stratégies ont été proposées et investiguées. L'impact du multiplexage de polarisation a notamment été quantifié dans des configuration où la dispersion chromatique de la fibre est compensée régulièrement dans la liaison et dans le cas où elle n'est compensée qu'en fin de liaison de façon numérique.La proposition d'utiliser un format de modulation à 2 niveaux de phase ainsi que les algorithmes permettant de le détecter ont été fait. Le gain de performance obtenu par rapport à la solution conventionnelle à 4 niveaux de phase a été montré.Au débit de 100Gb/s, la démonstration de la première transmission sur des distances transocéanique a également été faite.Ces travaux de recherche ont été notamment utilisés pour définir puis développer des produits Alcatel-Lucent qui sont maintenant commercialisés, à 40Gb/s en utilisant un format de modulation multiplexé en polarisation à deux niveaux de phase, et à 100Gb/s en utilisant un format multiplexé en polarisation à quatre niveaux de phase.