Si la vidéo est d’un usage courant à la télévision et dans la pratique amateur depuis plusieurs décennies, sa mise en contact avec des films tournés sur pellicules 16 ou 35mm traditionnelles est plus occasionnelle, tout en offrant de nouvelles possibilités esthétiques. En conservant la texture particulière de la vidéo dans un mélange et une confrontation des formats, un effet peut se produire. La création de cet « effet vidéo » est l’objet de notre étude. Que peut l’apparition d’une image vidéo, définie et lisible comme telle, à l’intérieur d’une oeuvre de fiction ou de documentaire dont le support de référence est le celluloïd ? Nous examinerons ainsi certains films de [notamment] Robert Kramer, William Klein, Michael Haneke, Fritz Lang, Jean-Luc Godard, Atom Egoyan, David Cronenberg, David Lynch, Abbas Kiarostami, Abel Ferrara, Wim Wenders, Chris Marker ou Jean-Daniel Pollet. Ayant déterminé le support de référence, nous constaterons que ces images renvoient à un type particulier d’effet vidéo [télévisuel, de surveillance ou amateur-intime], pour étudier ensuite comment ces données peuvent être perverties. Nous analyserons comment la vidéo peut perdre toute justification narrative à l’intérieur de l’œuvre, et infléchir par sa seule texture l’émotion du spectateur, pour éventuellement « faire l’image » [pour reprendre l’expression de Samuel Beckett]. Enfin, en rendant sa nature instable, nous constaterons que l’effet vidéo peut permettre les écarts d’un souffle poétique. / Video is currently used on television and as an amateur format, and has been for a few decades. But its mixing with feature movies shot on traditional 16 or 35 millimetres is more occasional, even if it can offer new aesthetical possibilities. By keeping the particular texture of video, in a mix and a confrontation of formats, an effect can occur. The creation of that “video effect” is the subject of this study. What can create a video image [defined and readable as video] when a fiction or a documentary’s reference of format is on celluloid? To that purpose, some films directed by Robert Kramer, William Klein, Michael Haneke, Fritz Lang, Jean-Luc Godard, Atom Egoyan, David Cronenberg, David Lynch, Abbas Kiarostami, Abel Ferrara, Wim Wenders, Chris Marker or Jean- Daniel Pollet will be investigated. These images determine a particular video effect [television, CCTV or amateur-intimate], and its constituting elements can be altered. Video can also lose all its narrative justification and influence the audience’s emotions only through its texture, in order to eventually « make the image » [in reference to Samuel Beckett’s short story]. Finally, by creating instability in the nature of its constitution, the video effect can contain the openness of a poetic whisper.

International Telemetering Conference Proceedings / October 25-28, 1999 / Riviera Hotel and Convention Center, Las Vegas, Nevada / Compiling a PCM data frame with super commutation poses problems of maintaining constant sample intervals for the parameters whilst keeping within channel bandwidth limitations. Add an extra requirement of using variable word lengths to optimise the use of available bit rate and the problem becomes more challenging. The available telemetry or tape recorder channel bandwidth rather than the capabilities of the data acquisition system normally govern the amount of data that can be acquired by the aircraft instrumentation system. The amount of data demanded usually expands to fill all available bandwidth and the bit rates are operated at the maximum for the particular channel. The use of variable word lengths can, in some circumstances, increase the utilisation of a channel bandwidth. In order to visualise if a particular requirement can be accommodated within a given data structure a method of sketching PCM data frames containing a wide mixture of sample rates using an intermediate matrix has been devised. The method is described in three stages. 1. Compiling a simple PCM frame. 2. Sketching the intermediate matrix to assist in visualising super commutation limits. 3. Mixing variable word lengths and super commutation in the same PCM format. The method is not guaranteed to be the most efficient but does give a relatively simple, non mathematical, way to visualise if the required sample rates can be accommodated in a given data structure. If the requirement will not fit into the data structure then the method allows the impact of the necessary changes to the structure to be rapidly assessed. The paper includes comments on the relevant characteristics needed in the aircraft data acquisition system. These include variable word lengths, frame lengths, incremental bit rates and coherency of multiple data bus word parameters

International Telemetering Conference Proceedings / October 26-29, 1998 / Town & Country Resort Hotel and Convention Center, San Diego, California / The Test & Evaluation community is starting to migrate toward solid state recording. This paper outlines some of the important areas that are new to solid state recording as well as examining some of the issues involved in moving to a direct recording methodology. Some of the parameters used to choose a solid state memory architecture are included. A matrix to compare various methods of data recording, such as solid state and magnetic tape recording, will be discussed. These various methods will be evaluated using the following parameters: Ruggedness (Shock, Vibration, Temperature), Capacity, and Reliability (Error Correction). A short discussion of data formats with an emphasis on efficiency and usability is included.

The objective of this study was to examine the effectiveness of alternative advertising presentation formats, and the quantity of information presented in advertisements in overcoming possible information-processing deficits in senior adults that could affect their recall of ad attributes and brand name, the cognitive responses generated, and attitude toward the ad. In addition, the study examined the effectiveness of retirement status as a classification or segmentation variable in comparison with the use of the more traditional classification variable, chronological age. A convenience sample of senior adult volunteers from church groups, social clubs, and civic organizations from the local area were randomly assigned to one of nine experimental conditions. The experiment utilized a simulated magazine to test the effects of presentation formats (3 levels), and quantity of information (3 levels) on senior adult's recall, cognitive responses and attitude toward the test ads. Covariates (gender, wealth, education, activity level, health, and income) were used to reduce variance. The findings clearly indicate that the presentation format of the can ad adversely affected the memory of some senior adults. In addition, the results were significantly different across the different age levels. Retirement status was less beneficial than chronological age in the current study, but did reveal a marginally significant difference between seniors due to the number of attributes contained in the test ads. The implication of findings for advertisers and those who design marketing communications for seniors are numerous, and relate to the marketer's communication goals. Senior adults may prefer print media, but the inappropriate use of presentation format and the number of product attributes in the ads could have an adverse and significant impact when communicating with senior adults. Recognition of the information-processing differences of senior adults would result in more effective marketing communications for this rapidly growing and important segment of our society.

"Mémoire présenté à la faculté des études supérieures en vue de l'obtention du grade de maîtrise en droit (L.L.M.)" / Il est devenu commun de dire que notre société se transforme inexorablement en une société dite de « l'information ». Cette transformation se caractérise entre autres par une utilisation accrue des technologies de l'information afin de communiquer, d'échanger ou de transiger. Les supports traditionnels de communication (tel que le papier) cèdent progressivement leur place à de nouveaux supports technologiques favorisant l'efficacité et la rapidité des échanges, et par la même occasion le développement du commerce électronique. Qu'on le souhaite ou non, un constat s'impose: la montée en puissance des réseaux virtuels a eu raison du monopole du papier. Sur le plan juridique, cette nouvelle réalité bouleverse aussi considérablement les règles de droit civil largement pensées et ancrées dans un contexte papier. L'avènement de la numérisation et du phénomène de la dématérialisation des supports ont effectivement soulevé plusieurs questions d'ordre juridique tout à fait nouvelles que nous pourrions résumer de la manière suivante: Quels sont les rapports entre l'écrit et son support autre que le papier? Quelles sont les caractéristiques de l'écrit faisant appel aux technologies de l'information? Ce type d'écrit peut-il être admis en tant que moyen de preuve? Si oui, quelle sera sa force probante? Ce type d'écrit doit-il être conservé? Le présent mémoire vise précisément à identifier certains éléments de réponses à ces diverses questions en étudiant spécifiquement les cadres juridiques français et québécois. Ce mémoire traite d'une part des enjeux liés à l'évolution et au rôle de l'écrit face à l'avènement des technologies de l'information et d'autre part du cadre juridique de la preuve et de la conservation de l'écrit dans la société de l'information. / It is becoming commonplace to say that we have entered a so-called "information society". In the process, we have witnessed a transformation characterized by an increased use of information and communication technologies that has revolutionized the way we communicate, learn and conduct business. The traditional communication formats (i.e., paper) gradually yield their place to new technological formats which affect the effectiveness and the speed of transactions, there by enabling the rise of ecommerce. The advent of virtual networks calls into question the monopoly of paper. From a legal perspective, the new paradigm has a huge impact on civil law rules, which were largely anchored in a paper context. The advent of the digitization and the phenomenon of the dematerialization of formats raised several new legal issues that we could summarize in the following manner: What is the relationship between writing and its various formats (e.g., other than paper)? What characterizes writing in an electronic environment? Can this type of writing act as evidence? If so, what will be its conclusive force? How can the integrity of documents be ensured? This thesis examines these various questions within the context of two different legislations: France and Québec. Two issues are addressed: 1) the evolution ofwriting in an electronic, networked environment; 2) the legal framework around evidence and archiving ofwriting in the information society.

A dissertação ora apresentada teve como objetivo central identificar e sistematizar as estratégias de transmidiação desenvolvidas no âmbito da produção da obra ficcional Latitudes (2013, 2014), um projeto transmídia veiculado em três plataformas diferentes: YouTube, televisão e cinema e, respectivamente, em três formatos: websérie, série de TV e longa metragem. Trata-se de pesquisa que utiliza a técnica de estudo de caso para analisar o surgimento de obras ficcionais produzidas para distribuição em diversas plataformas O trabalho discute o surgimento de novos gêneros e formatos relacionando-os ao contexto da hipertelevisão (Scolari, 2014) e da distribuição de conteúdos em multiplataformas, que marca a experiência estética audiovisual na contemporaneidade, proporcionando novas formas de produção, consumo e fruição. Também são discutidos modelos de negócio na cultura da convergência (Jenkins, 2008), nomeadamente no YouTube - repositório para a websérie Latitudes -, a partir da distribuição e consumo cada vez mais pautados em plataformas streaming, que ganham espaço frente à grade horária tradicional televisiva, no modelo broadcast. Apoiados nos estudos de linguagem de Bakhtin (2003) e em discussões sobre gêneros feitas por Barthes (2009), Eco (1994) e Mungioli (2012), os resultados das análises sugere uma aproximação entre os gêneros ficcional e documental na versão seriada exibida na televisão. Em termos de estratégias de transmidiação desenvolvidas em Latitudes, a análise revelou que a obra incorpora modelos de distribuição e consumo que se apresentam como tendências atuais na produção audiovisual brasileira. Quanto à construção narrativa, observamos como principais resultados o uso das estratégias de propagação (Fechine, 2013) e de reassistibilidade (Mittel, 2011) para o estabelecimento da transmidiação em Latitudes. Também incorporamos às discussões a análíse de estratégias de product placement, a partir de inserções roteirizadas, como modelo de capitalização eficaz em produtos audiovisuais que contam com a internet como principal veículo de distribuição. / The present study aims to identify and systematize transmediation strategies developed by the producers of the series Latitudes (2013, 2014), a project distributed in three different platforms: internet (YouTube), television and cinema (so, in three formats: webseries, TV series and film). The work discusses the emergence of new genres and formats relating them to the context of hipertelevision (Scolari, 2014) and the multi-platform content distribution, which marks the audiovisual experience in contemporary culture and ensures more autonomy and agency to the audiences (Castells, 2009). We also discuss the new business opportunities in the convergence culture (Jenkins, 2008), particularly on YouTube, which works as a repository for the webseries Latitudes, with the distribution and consumption increasingly guided by streaming platforms, that are gaining ground against the traditional television broadcast model. It was also possible to see that these new dynamics, supported by the Internet, create new production processes. Based on the Language theory of Bakhtin (2003) and reflections on genres using Barthes (2009), Eco (1994) and Mungioli (2012). Through these analyzes, we see a connection between the fictional and documentary genres in the television version of our empirical object. After these advances, we reach the stage of systematization of transmediation strategies developed in Latitudes, realizing that it incorporates different kinds of distribution and consumption that are presented as trends in the Brazilian audiovisual production. As main results, we identified propagation strategies (Fechine, 2013), and the use of rewatchability (Mittel, 2011) for the establishment of transmidiation in Latitudes. We also add to the discussion the strategy of product placement (Miller, 2014), through scripted insertions, as an effectively capitalization model for audiovisual products that rely on the internet as a primary vehicle of distribution.

Apresenta uma análise sobre requisitos de interoperabilidade de dados na cadeia de desenvolvimento do produto e processo em empresas dos setores automotivo e máquinas rodoviárias, relacionados com a implementação da manufatura virtual. As informações foram coletadas de livros, artigos de conferências, revistas, páginas da internet, e discussões com especialistas. Descreve as principais características de formatos neutros de dados e núcleos de modelagem de sistemas. Aborda a viabilidade na padronização dos requisitos de informação e representação de dados, de maneira a selecionar uma relação de formatos neutros para a troca de dados compatíveis para uma variedade de sistemas da manufatura virtual. Relata os principais esforços no desenvolvimento de formatos neutros para a melhoria da interoperabilidade de dados. / This paper presents an interoperability requirement analysis of the product and process development chain for automotive and off-road vehicle factories for a virtual manufacturing implementation. All information was collected from articles, technical magazines, internet, books, and discussion with specialists. A description is given of major features of neutral data formats and system modeling kernels. Also provided is an analysis of the feasibility of standardizing the informational needs of virtual manufacturing systems. Finally a representation of input data is presented in order to select neutral data formats suitable for a variety of virtual Manufacturing systems. The paper concludes by reporting the major worldwide efforts on developing neutral data standards to improve interoperability.

Orientador: Maria Amália de Figueiredo Pereira Alvarenga / Resumo: Trata-se de uma pesquisa de mestrado que se vale do método dedutivo-bibliográfico e propõe uma análise aprofundada da Lei n. 11.340, de 07 de agosto de 2006, especificamente, em seu art. 22, inciso V, que estabelece como medida protetiva de urgência a prestação de alimentos provisionais ou provisórios. Moveu-nos a preocupação com a situação vivida por milhares de mulheres que são vítimas de violência doméstica, sobretudo, no que concerne à sua questão alimentar; ademais, o reconhecimento de que com o ato de violência praticado em relação à mulher e, sobretudo, diante da saída da vítima do lar, há a necessidade de sustento e manutenção da família que se forma drasticamente. O estudo aborda, em um primeiro lugar, os novos formatos familiares, iniciando-se com a busca da origem do termo “família” até adentrar nas novas formações familiares. Em segundo lugar, fala-se dos alimentos, abordando o seu conceito, pressupostos, espécies e formas de efetivação. Em terceiro lugar, trata-se da Lei Maria da Penha, analisando o seu surgimento no âmbito internacional; os alimentos concedidos no âmbito das medidas protetivas de urgência; e, ainda, discorre-se sobre a efetivação dessa medida protetiva, seja com a sua execução, a sua prisão civil, a nova tipificação penal (crime) e, sobretudo, a possibilidade de prisão preventiva. Por fim, analisa-se dados estatísticos do Conselho Nacional de Justiça e dados da Delegacia de Polícia de Defesa da Mulher de Franca-SP, sobretudo, a afirmação de ausê... (Resumo completo, clicar acesso eletrônico abaixo) / Mestre

Optical fibre has become the dominant theme of transmission in long haul, high data rate communication systems due to its tremendous bandwidth and low loss. Radio over Fibre (RoF) technology facilitates the seamless integration between wireless and optical communication systems and found to be the most promising solution to meet the exponential bandwidth demands expected for the upcoming years. However, the main bit-rate/distance limitation in RoF systems is the chromatic dispersion. In this thesis, the two generations of RoF technologies, namely Analogue RoF (ARoF) and Digital RoF (DRoF) are investigated. The overall aim of this research is to optimise the optical bandwidth utilisation of these two approaches for a typical transmission of the fronthaul link proposed in the next generation Centralised Radio Access Network (C-RAN). Consequently, a number of physical layer design scenarios for the optimised transmission of the Radio Frequency (RF) signals over a Standards Single Mode Fibre (SSMF) are demonstrated. Firstly, for an ARoF transmission, where the analogue RF signals are transported over SSMF using an optical carrier, a bidirectional link transmitting four Downlink/Uplink channels in a chromatic dispersion limited scenario is designed. Simulation results have shown a clear constellation diagram of a 2.5 Gb/s RF signal transmission over 120 km fibre length. Secondly, a DRoF system with reduced optical bandwidth occupancy is proposed. This system employs an optical Duobinary transmission to the digitised RF signal at the transmitter side to reduce its spectrum and to address the chromatic dispersion effect, simultaneously. Simulation results demonstrate the capability of the proposed system to maintain high-quality transmission of the digitised signals over 70 km of fibre distance without dispersion compensation requirements. Finally, an advanced DRoF transmission link based on integrating digital Optical Single Sideband (OSSB) transmission with Duobinary encoding scheme is designed. Simulation results have clearly verified system's robustness against transmission impairments and have better performances in terms of the obtained BER and EVM with respect to the 3GPP standardised values. Moreover, the results show that both transmission distance and power budget are furtherly improved in comparison with two other digital transmission scenarios.

This dissertation examines the process of commodifying television formats (e.g., Who Wants to Be a Millionaire?, Survivor, Big Brother, and Idol) from television show ideas into global commodities. Instead of assuming that a format has always been a commodity, this dissertation seeks to understand the historical process of the transformation from a concept into a commodity. Specifically, it answers three questions: a) What is the process whereby a format obtains property status and becomes a copyrighted work? b) Who enables the transnational movement of a format, and how does that happen? and c) How do people recognize which formats are more valuable than others? To answer these questions, by articulating the distribution of value as a theoretical framework, this dissertation closely examines institutions of format distributions: legal frameworks for copyright, multinational corporations, and global television markets. Through historical analyses, this dissertation reveals that institutions of distribution gave rise to three aspects of the commodity form of formats: legality, functionality, and materiality. The development of these three aspects shows that a format became a commodity, rather than simply a method of copying television programs, only after 2004. This dissertation contends that the long history of copying television show ideas was punctuated by the emergence of the commodity form of formats, distinguishing the present state of global format trade from the previous one.