This study investigates phonetic and phonological factors which influence the degree of vowel-to-vowel coarticulation in Korean and English, especially around palatalization rules. Two phonetic factors and two phonological factors were examined in investigating the degree of anticipatory or carryover coarticulation in VCV sequences. The phonetic factors were the intervening consonants (alveolar stop vs. (alveo)palatals), and the second vowels (/i/ vs. /a/); the phonological factors were the effect of palatalization, and the lexical status of palatalization (lexical vs. postlexical palatalization). Ultrasound imaging techniques and F2 measurements are employed to see how much further front the articulation of V1 in V1CV2 sequences is due to influence of V2 across the consonants. Ultrasound images of vowels and their F2 values were quantified and statistically analyzed with ANOVA.First, it was found that V1 in V1CV2 sequences in Korean was articulated further front when intervening consonants were palatals than when they were alveolars, while there was no difference in frontness of V1 between two consonantal conditions in English. This indicates that Korean palatals are a stronger barrier to vowel-to-vowel coarticulation, while English alveopalatals are not. Next, V1 in both languages was articulated further front when V2 was /i/ than when V2 was /a/. Third, we had striking findings that palatalization rules caused stronger vowel-to-vowel coarticulation than in nonpalatalized words. Results showed that V1s were articulated further front across derived palatals than across underlying palatals in V1Ci sequences. Last, it was determined that V2 was articulated further front in words which underwent postlexical palatalization than in words which underwent lexical palatalization. Such findings indicate that postlexical palatalization causes greater gestural overlap than lexical palatalization, showing stronger degree of coarticulation.Based on the experimental results that phonetic details such as the degree of vowel-to-vowel coarticulation are highly conditioned by the lexical status of palatalization as well as the application of palatalization, I suggest a unified model of phonology and phonetics, using feature-and-gesture based OT frameworks. Second, I follow the proposal that abstract intergestural timing relations should be incorporated into phonological representations either in the input or output (Cho 1998, Gafos 2002, Yun 2005b).

Technology evolves quickly, with innovative ideas growing everywhere. Still, no technology is anywhere near challenging the mouse and keyboard for navigation of your standard computer. This study focuses on comparing the traditional technologies of mouse and keyboard with the new technology of gestures - in this case Leap Motion - in purpose of finding how the usage differs and what the potential users want from the competing technology. The experiment was executed in a controlled environment, with as few external factors as possible. We found that although the test subjects found Leap Motion fun, the test subjects do not want to surf the web with gestures. Comparing the efficiency of use, mouse and keyboard took much less time, although this was expected due to experience with the traditional technology. The test subjects proposed Leap Motion to be used for playing games, 3D-modelling and for people with disabilities. Our conclusion, however, was that this technology could be successfully used in everything from hospitals to the industry, or in public places where it is important not to spread infections. We also discuss the pros and cons of Leap Motion in comparison with other gestural technologies.

abstract: Beneath the epidermis, the human body contains a vibrant and complex ecology of interwoven rhythms such the heartbeat, the breath, the division of cells, and complex brain activity. By repurposing emergent medical technology into real-time gestural sound controllers of electronic musical instruments, experimental musicians in the 1960s and 1970s – including David Rosenboom – began to realize the expressive potential of these biological sounds. Composers experimented with breath and heartbeat. They also used electroencephalography (EEG) sensors, which register various types of brain waves. Instead of using the sound of brain waves in fixed-media pieces, many composers took diverse approaches to the challenge of presenting this in live performance. Their performance practices suggest different notions of embodiment, a relationship in this music which has not been discussed in detail. Rosenboom reflects extensively on this performance practice. He supports his EEG research with theory about the practice of biofeedback. Rosenboom’s work with EEG sensors spans several decades and continue today, which has allowed him to make use of advancing sensing and computing technologies. For instance, in his 1976 On Being Invisible, the culmination of his work with EEG, he makes use of analyzed EEG data to drive a co-improvising musical system. In this thesis, I parse different notions of embodiment in the performance of EEG music. Through a critical analysis of examples from the discourse surrounding EEG music in its early years, I show that cultural perception of EEG sonification points to imaginative speculations about the practice’s potentials; these fantasies have fascinating ramifications on the role of the body in this music’s performance. Juxtaposing these with Rosenboom, I contend that he cultivated an embodied performance practice of the EEG. To show how this might be manifest in performance, I consider two recordings of On Being Invisible. As few musicologists have investigated this particular strain of musical experimentalism, I hope to contextualize biofeedback musicianship by offering an embodied reading of this milestone work for EEG. / Dissertation/Thesis / Masters Thesis Music 2015

Orientador: Eleonora Cavalcante Albano / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-19T01:54:41Z (GMT). No. of bitstreams: 1 Schliemann_LucilaReyRocha_M.pdf: 22316866 bytes, checksum: f27f2c2bea6c7a055a16138d15190d26 (MD5) Previous issue date: 2011 / Resumo: Durante muito tempo estudamos na Fonoaudiologia a aquisição de fala das crianças. Aquelas que apresentassem dificuldades de fala eram diagnosticadas dentro de algum quadro. Com os novos estudos da Fonologia Gestual podemos pensar a aquisição de fala de forma diferenciada. Passamos a entender que as crianças fazem distinções entre as categorias fonológicas em aquisição até conseguir atingir o padrão adulto esperado. O presente estudo analisa a produção de fala de seis crianças, entre 6 e 8 anos de idade, com e sem queixa de vozeamento. As crianças foram gravadas individualmente, numa cabine acústica. O corpus era composto de palavras dissílabas, paroxítonas, com as categorias [p], [b], [k], [g], [t] e [d] na posição inicial na palavra, associadas às vogais [a], [i], [u]. Foi usada a frase veículo " Achei _______ bem rapidinho". Em cada uma dessas frases, foi feita a análise de outiva e a análise acústica, através do software Praat. Cada palavra-alvo foi segmentada em closura, plosão, VOT (voice onset time), vogal-alvo e segunda sílaba. Foram então utilizados os seguintes parâmetros para análise: duração absoluta do VOT, da closura e da plosão da consoante-alvo; duração absoluta da palavra-alvo e de seus constituintes (consoante-alvo, vogal-alvo e segunda sílaba) e duração relativa da plosão na sílaba-alvo. Além disso, observamos as características do VOT, da barra de sonoridade, da plosão (burst) e cauda do vozeamento da vogal precedente à consoante-alvo. Foram observadas amplas variações entre todas as crianças quanto aos resultados. Por isso, optamos por uma análise descritiva. As crianças com dificuldades de vozeamento apresentaram VOT positivo para as consoantes vozeadas e desvozeadas e um tempo maior de duração da plosão das consoantes vozeadas. Estas crianças prolongam o tempo de duração da plosão das categorias vozeadas buscando a vibração das pregas vocais. Quanto mais elas seguram a plosão, mais tensão existe nos articuladores, a diferença de pressão supra-glótica e infra-glótica não se mantém, existindo na verdade uma grande pressão intra-oral, as pregas vocais são mantidas abertas e não há vibração das mesmas. Nossos achados apontam no sentido do contraste deslocado, uma vez que as crianças usam estratégias no sentido inverso ao do acerto. Com base em nosso estudo, propomos uma visão dinâmica da aquisição de fala, onde se observe a singularidade de cada criança / Abstract: For a long time, we study language acquisition in children. Those who presented speech difficulties were diagnosed with a certain disability. With the new studies of Gestural Phonology we can think about language acquisition in another way. We understand that children make distinctions between the sounds in acquisition to achieve the expected adult pattern. ThThe present study investigates the speech production of six children, between 6 and 8 years old, with and without voicing difficulties. Children were recorded individually in an acoustic booth. The corpus was composed of two-syllable words, stressed in second syllable, with the categories [p] [b], [k] [g] [t] and [d] in initial position in the word, associated with the vowels [a], [i] ,[u]. The children spoken the carrier phrase "I found - WORD - pretty quickly." In each of these phrases was made auditive analysis and acoustic analysis, using the software Praat. ThThe target word was segmented into closure, burst, VOT (voice onset time), vowel-target and the second syllable. The following parameters were used: absolute duration of the VOT, absolute duration of the closure and absolute duration of the burst in the target consonant; absolute duration of the target word and its constituents (the target consonant, the target vowel and the second syllable) and relative duration of the burst in the target syllable. BBBeside that, we investigated the characteristics of VOT, voicing bar, the burst and the tail of the voicing of the vowel preceding the consonant target. We observed wide variation in results among all children. We chose a descriptive analysis. The children who have difficulties in voicing presented positive VOT for voiced and voiceless consonants and a longer duration of burst in voiced consonants. These children seem to prolong the duration of the burst in voiced categories looking for the vibration of the vocal cords. The more they hold the burst, there is more tension in the articulators. The pressure difference supraglottic and infraglottic is not maintained. There is actually a large intraoral pressure, the vocal cords are held open and there is no vibration of the same. O Our findings indicate the sense of place contrast. The children use strategies in the opposite direction to the target. Based on our study, we propose a dynamic view of language acquisition in children, with a single view of each child / Mestrado / Linguistica / Mestre em Linguística

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Concerned with anxiety and displacement, the artist explores a sense of place within the self. Personal experiences are presented as an accumulation of fragmented symbols, textures and pattern. Symbolic imagery is being created, influenced by a devaluation of established norms and a reorganization of cultural identity. The individualÆs interaction and experience with the surrounding world affirms his idiosyncratic symbolism. The artwork is a visual language that through the use of disparate segments sets up the portrayal of the fragmented self and psychological journeys of the artist. Individuals establish themselves in many ways, including gestures as part of expression. This expression can be in the visual plane, such as works of art with their color and exploration of ideas. Thus there is continuity in life being established by the artist, while looking for meaning in the apprehended sense of place created in response to natural instinct and intuition.

This paper will explore classical and contemporary methods of painting applied to the portrait. It will emphasize the metaphor of paint as flesh and the connotations of the breakdown of the painted form that stands in for flesh as it relates to our preoccupations with our own mortality. Borrowing from influences like Lucian Freud, Jenny Saville, and Francis Bacon, the artwork explores the creation of a form that is physical and confrontational, and is intended to provoke a psychological response in the viewer. This series of figuration bases its processes on traditional methods, while borrowing from modern art devices to interpret intangible human characteristics that clarify the representation of the subject and the moment being captured. The ultimate product of this two-fold approach is an image that is a tightly rendered representational portrait that simultaneously lends itself to gestural study.

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No description available.

As a woman whose career lifted off during the era of Abstract Expressionism, Elaine de Kooning is precariously positioned between her gender and her career. She began painting in the midst of a male-dominated movement and in later years continued to use very masculine themes in her art; however, her gender sets her apart from her mostly male colleagues during the Abstract Expressionist period. The mid-century expectation of machismo and masculinity shaped Elaine de Kooning’s art and career, and there is a tension within her art as she tried to fit the established (male) persona of the typical Abstract Expressionist artist while also maintaining a female identity. As the wife of Willem de Kooning, Elaine is most often discussed with respect to this relationship. Her name is infrequently mentioned in scholarship without reference to Willem, and her contribution to art history has only recently been studied in any length in Jane Bledsoe’s Elaine de Kooning (1992) and in a series of smaller gallery publications. Furthermore, Elaine has become recognized and respected, in some cases, more for her critical writings for Art News during the 1950s and 1960s than for her art. She was an artist turned art critic, and this crossover has further complicated the scholarly attention devoted to her. Elaine consistently revisited male-inspired subject matter: in her portraiture she painted predominantly male sitters; in her cave painting-inspired work she reflected a society of primitive male hunters; in her series of sports paintings she depicted male basketball and baseball players in dynamic postures; in her Bacchus series she investigated a male god and the vitality of the statue’s writhing male musculature; and in her bull and bison series she worked with the clichéd animalistic symbol of masculine strength and virility. These subjects, combined with the ejaculatory style of Abstract Expressionism’s loose brushwork and vibrant swirling colors, provide a unique contrast to the artist, herself, as a female personality. / Art History / Accompanied by three .doc Microsoft Word documents.