During the advancement of COVID-19, safety protocols (including facial masks) were incorporated into public settings. The Centers for Disease Control and Prevention (CDC), due to safety regulations, recommend wearing face masks when in close contact with other people in public environments, such as in a classroom, where social distancing is difficult. Understanding these CDC recommendations is still critical when looking for effective and safe alternative forms of masking for particular industries. Many industries smoothly transitioned to daily use of traditional cloth masks, but other industries (such as education) serving clients with high communicational needs and communication-centered services sought masking alternatives. This study examines related research to explore the question of whether wearing masks may have any impacts on student engagement, particularly with regards to Early Childhood Education (ECE) or in the Education of Students with Exceptionalities (ESE). Research found that masks have a significant impact on factors of engagement (i.e., physical, behavioral, intellectual, social, emotional; The Glossary of Education Reform, 2016) and suggests transparent masks paired with Remote Microphones as a viable alternative to traditional masking. Future recommendations are provided in hopes of impacting the use of face masks with young students for both safety and for engagement. Future research should focus on ECE or ESE classrooms using observable language and literacy acquisition skills and visual cues related to the Categories of Engagement defined by The Glossary of Education Reform (2016).

A template tracker is a tracker based on matching a pre-initialised view of an object with the object's view in an image sequence. Using an error function, the intensity difference between the template view and the templated region in the image is measured. This error measure is used as the basis for a template alignment algorithm that will adjust the template's pose to more accurately register the template view with the view of the object in the image. Some significant problems present themselves with this simple tracker. Extraneous, or non-object, pixels within the template boundaries can cause bias in the registration of the template. Partial occlusions of the object's view in the image can also cause serious bias in the template's pose. Beyond simple occlusions there are transits of occlusions across an object. Occlusion transits are significant because over time they can occlude the entire object in an incremental fashion. If initially the template view is not completely known this kind of occlusion can easily cause a total tracking failure for an object. In this thesis three enhancements of the basic template tracker are proposed: Ownership Masks, Cooperative Templates, and Evolving Views. Ownership Masks are aimed at eliminating the extraneous pixels from the template view. Cooperative templates are used to separate the intensity probabilities when more than one template covers a pixel. Building upon both Ownership Masks and Cooperative Templates, Evolving Views update the template views when occlusion transits are a problem. With these enhancements we have been able to increase the accuracy of tracking objects where large portions of a template contain background pixels. Also occlusions and some types of unocclusions can be detected and discriminated. Finally, some failures in the basic tracker due to occlusion transits have been overcome.

Esta pesquisa compartilha processos pedagógicos de criação de dramaturgia(s) que se desenvolvem por meio das relações entre os mascaramentos corporais dos artistas, o espaço da rua e os transeuntes-espectadores. Apresento uma dramaturgia pensada de forma expandida e processual, que se define pelos deslocamentos e infiltrações desses corpos mascarados no espaço urbano, pela organização das ações dos performers mascarados em jogo com o Espaço e com um público efêmero, que observa e segue, levando consigo suas percepções. A imprevisibilidade, o imponderável, a presença do performer que age motivado por suas questões subjetivas, políticas, sociais, e não por um personagem que irá representar, estão presentes nesse processo de criação fazendo parte dos procedimentos artísticos e pedagógicos propostos, fundamentados nas ideias de Josette Féral, acerca do \"teatro performativo\" e \"teatralidades cotidianas\", e nas ideias de \"multiestabilidade perceptiva\", de Érika Fischer-Lichte, quando fala sobre o espectador que se encontra em um \"entre\" a \"ordem de representação\" e a \"ordem da presença\". / This research benefits from pedagogical processes of creation of dramaturgy (s) which is developed through the interaction of the \'body masks\' of the artist, the \'passers-by-spectators\' and the public space. I present a dramaturgy thought in an expanded and procedural way, defined by the displacement and infiltrations of these masked bodies in urban space, by the organization of the actions of the masked performers interacting with space and with an ephemeral audience that observes and follows, taking with them their perceptions. The unpredictability, the imponderable, the presence of the performer who acts motivated by his subjective, political, and social issues, and not by a character that will play, are present in this process of creation. Thus being part of the artistic and pedagogical procedures proposed. This is based on the ideas of Josette Féral about the \"performative theater\" and \"daily theatricalities\", and Érika Fischer-Lichte\'s ideas of \"perceptual multistability\", when she talks about the spectator who is in \"between\" the \"order of representation\" and the \"order of presence\".

Esta pesquisa compartilha processos pedagógicos de criação de dramaturgia(s) que se desenvolvem por meio das relações entre os mascaramentos corporais dos artistas, o espaço da rua e os transeuntes-espectadores. Apresento uma dramaturgia pensada de forma expandida e processual, que se define pelos deslocamentos e infiltrações desses corpos mascarados no espaço urbano, pela organização das ações dos performers mascarados em jogo com o Espaço e com um público efêmero, que observa e segue, levando consigo suas percepções. A imprevisibilidade, o imponderável, a presença do performer que age motivado por suas questões subjetivas, políticas, sociais, e não por um personagem que irá representar, estão presentes nesse processo de criação fazendo parte dos procedimentos artísticos e pedagógicos propostos, fundamentados nas ideias de Josette Féral, acerca do \"teatro performativo\" e \"teatralidades cotidianas\", e nas ideias de \"multiestabilidade perceptiva\", de Érika Fischer-Lichte, quando fala sobre o espectador que se encontra em um \"entre\" a \"ordem de representação\" e a \"ordem da presença\". / This research benefits from pedagogical processes of creation of dramaturgy (s) which is developed through the interaction of the \'body masks\' of the artist, the \'passers-by-spectators\' and the public space. I present a dramaturgy thought in an expanded and procedural way, defined by the displacement and infiltrations of these masked bodies in urban space, by the organization of the actions of the masked performers interacting with space and with an ephemeral audience that observes and follows, taking with them their perceptions. The unpredictability, the imponderable, the presence of the performer who acts motivated by his subjective, political, and social issues, and not by a character that will play, are present in this process of creation. Thus being part of the artistic and pedagogical procedures proposed. This is based on the ideas of Josette Féral about the \"performative theater\" and \"daily theatricalities\", and Érika Fischer-Lichte\'s ideas of \"perceptual multistability\", when she talks about the spectator who is in \"between\" the \"order of representation\" and the \"order of presence\".

Made available in DSpace on 2016-04-27T17:27:02Z (GMT). No. of bitstreams: 1 Jean Fabian Daud Gaspar.pdf: 902833 bytes, checksum: 30e4c49dcc255afdaa66a315c1e751af (MD5) Previous issue date: 2012-09-21 / In this dissertation, we will analyze the work of Luigi Pirandello and his involvement with the masks problematic having as horizon possible similarities and differences with the writings of philosopher Friedrich Nietzsche. Being this objective of the present work, we will try to draw a parallel, initially between the ancient tragedy and modern, reflecting the disharmony with Pirandello on the subject and, with Nietzsche in certain specific criticisms of the alleged unity of the subject. Along the way, will emerge, differentially, the themes of the suffering of the individual, the "I" multiple and misfit of the subject that will support, along with the "conscience" of multiplicity, for a finding of coherence waving to the masks / Nesta dissertação, analisaremos a obra de Luigi Pirandello e seu envolvimento com a problemática das máscaras, tendo no horizonte possíveis aproximações e diferenças com os escritos do filósofo Friedrich Nietzsche. Sendo este o objetivo do presente trabalho, procuraremos traçar um paralelo, inicialmente, entre a tragédia antiga e a moderna, refletindo com Pirandello sobre a desarmonia do sujeito, e, com Nietzsche, em determinadas críticas pontuais à sua pretensa unidade. Nesse percurso, irão emergir, diferencialmente, as temáticas do sofrimento do indivíduo, do eu múltiplo e do desajuste do sujeito que, servirão de apoio, juntamente com a consciência da multiplicidade, para a constatação de uma coerência que acena para as máscaras

Som operationssjuksköterskor med lång erfarenhet av operationssjukvård har diskussioner kring munskyddets vara eller icke vara funnits, huruvida munskyddet verkligen skyddar patienten mot postoperativ infektion, eller varför munskydd egentligen behövs. I rollen som operationssjuksköterska ingår ett ansvar för patientens säkerhet, däribland ingår att se till att hygienrutiner följs.Om en patient får en postoperativ infektion orsakar det ett extra stort lidande för patienten, vilket även kan innebära att vårdtiden blir längre. Om operationssjuksköterskor kan undvika detta lidande för patienten genom att använda och hantera skyddsutrustningen i form av munskydd på rätt sätt uppnås ett av målen på operationssalen. Problemformuleringen är: på vilka vetenskapliga grunder rekommenderas användandet av munskydd? Syftet med studien är att beskriva på vilka grunder munskydd bör användas på operation.Metoden är litteraturstudie som är en litteraturöversikt. För att kunna besvara det formulerade problemet används resumé review, sammanfattande översikt, där 9 artiklar sammanställdes, som alla belyste munskyddets betydelse på operation.Resultatet visar att personal inte behöver munskydd för att förhindra en postoperativ infektion inom allmänkirurgi när den utförs i lokaler som följer dagens standard. Men i kirurgi, där implantat opereras in, är forskningen ringa i miljöer där patienter deltagit och det saknas därför evidens om munskydd skyddar eller inte mot postoperativ infektion. Det framkommer att munskydd kan fungera som stänkskydd mot smittor för personalen på operationssalen, överförda av stänk och via luften. Skäl till att inte använda munskydd kan vara ekonomiska, det vill säga i kostnadsbesparande syfte.Nyckelord: Masks*, surgical mask*, surgical wound infection* / Program: Fristående kurs

Esta tese é um estudo analítico-interpretativo do romance A Hora da Estrela, de Clarice Lispector. Com base nas teorias de Mikhail Bakhtin, explicitam-se os elementos dialógicos que estariam na base da composição do romance final de Lispector. Por dialogismo, entendem-se as várias interações crítico-paródicas que o narrador Rodrigo S.M, persona masculina criada pela autora, estabelece com outros discursos no processo metaliterário que embasa a construção da narrativa. Entre estes discursos, a análise dá especial atenção à paródia que o narrador faz de diferentes formas narrativas e dramáticas, entre as quais se destacam o romance de folhetim, o melodrama, o romance regional, o romance social e o romance psicológico. O tom dialógico-paródico dominante na obra permite detectar traços de carnavalização usados como arma de crítica e denúncia social. No âmbito desta carnavalização, destaca-se a presença de máscaras ancestrais da arcaica romanesca retomadas e atualizadas por Lispector, em especial as máscaras do tolo, do bufão e do trapaceiro, personagens arquetípicos que, oriundos do solo da cultura popular, teriam importante papel na consolidação do romance como gênero fundamentalmente voltado para a representação/encenação crítica de discursos (ainda segundo Bakhtin). Analisam-se também algumas crônicas de Lispector consideradas importantes para a compreensão da figuração do \"personagem tolo\" sem sua obra. Trata-se de crônicas que tematizam o longo contato da escritora com empregadas domésticas, personagens que antecipam e inspiram a criação de Macabéa. A importância do tolo é destacada, na medida em que ele se apresenta como uma \"máscara\" que permite interagir criticamente com os discursos instituídos, ou seja, com a ideologia dominante. O tolo que estranha e não compreende a sociedade que o cerca torna-se um importante elemento de denúncia da falsidade e do perniciosismo das relações sociais estabelecidas. A ele se junta o bufão, representado ironicamente na persona burlesca do narrador masculino Rodrigo S.M., que, em clima de carnavalização, desmascara e destrona discursos no processo autocrítico de construção da narrativa. / This thesis is an analysis and interpretation of Clarice Lispector\'s novel The Hour Of The Star. Based on Mikhail Bakhtin\'s theories, the work focuses attention on various forms and degrees of dialogic orientation in the discourse of the narrator Rodrigo S.M., who is a kind of fictional \"male mask\" created by the author in order to develop parodic stylization of a series of other discourses, specially of epic and dramatic forms, such as the melodrama, the \"serialized novel\" (\"feuilleton-roman\"), the social novel, the regional novel and the psychological novel. The dialogic and parodic tone of Lispector\'s novel implies the use of carnivalization as a tool of social criticism. It is also considered that the novelist has constructed the main characters, including the narrator, out of ancient and durable popular masks which, according to Bakhtin, had a great role in the constitution of the specific dialogism of novelistic discourse. These masks, which correspond to the figures or artistic images of the fool, the clown and the rogue, go back into the depths of folklore and have a vital connection with the public square and the public spectacle. In the context of the novel, these popular masks assist the author in the task of parodying the languages of others as well as different literary and non - literary discourses. Besides, the analysis focuses on some Lispector\'s short stories which were regarded important for the understanding of the image of the fool character, mainly those ones well known to be based on her real life. The theme of such stories is Lispector\'s daily contact with housemaids, an inspiration for the creation of Macabéa, the \"fool\" protagonist of The Hour Of The Star. The importance of the fool is emphasized in this study due to the fact that his stupidity and incomprehension of the conventions of society and its canonized discourses (religious, political, judicial, scholarly) turn to be a dialogic category whose function is to rip off ideological falsehood. In addition to the fool, there is the clown, a role played by Rodrigo S. M., the male narrator who, as a mask, has the right to speak in otherwise languages and maliciously distort and turn them upsidedown

Submitted by Celso Magalhaes (celsomagalhaes@ufrrj.br) on 2018-09-11T12:02:37Z No. of bitstreams: 1 2017 - Raphael Ferreira de ?vila.pdf: 1140292 bytes, checksum: e90cf347275360e5e8c43f5f2e2c808d (MD5) / Made available in DSpace on 2018-09-11T12:02:37Z (GMT). No. of bitstreams: 1 2017 - Raphael Ferreira de ?vila.pdf: 1140292 bytes, checksum: e90cf347275360e5e8c43f5f2e2c808d (MD5) Previous issue date: 2017-07-19 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / The present work investigates the psychosocial aspects of the use of mask in demonstrations and protests in the city of Rio de Janeiro, Brazil, implying such actions in the context of the struggles of ?Jornadas de Junho de 2013?. We analyze here these events, as organized in the form of the the multitude, and guided by the emergence of the right to the city as a way of constructing a conception of these events. It sought to think about the methodological possibilities of a research in social psychology from the triangulation of datas, on its potential of depth extension: the structural approach of Social Representations, and the methodological proposal of Content Analysis, associated through its possible perspectives in research. The results point out as probable central nucleus of social representations the elements "anonymity", "black bloc", "hide", "protection" and "vandalism". Content analysis indicates responses under the categories of "experience", "justification" and "collective identity construction" for those who claim to have used masks in protests, and the categories "anonymity", "protection", "judgment" ?collective identity construction" and "fantasy" for those who declare that they have never made such a use. The triangulation of datas allows to highlight the representation of "anonymity" in chorus with the narratives of search of a construction of collective identity as powerful collective agency, taking the use of masks as detachment of the individual in favor of the identity of the group. We conclude in debate with the theory that the current protests and manifestations in Brazil present multiple affections around the common, placing in the brazilian scene this new autonomous way to make politics: from the spaces they create to the instruments and languages they use, until the relations between those who are acting, so that hiding the face may be less a protection of individuality and more an act of building belonging, sharing another signe, more social / O presente trabalho investiga os aspectos psicossociais do uso de m?scara em manifesta??es e protestos no Brasil contempor?neo, mais especificamente na cidade do Rio de Janeiro, implicando tais a??es no contexto das lutas das chamadas Jornadas de Junho de 2013, analisando aqui tais acontecimentos entendo-os como organizados na forma da multid?o, e pautados pela emerg?ncia do direito ? cidade como forma de construir uma concep??o destes acontecimentos. Buscamos pensar as possibilidades metodol?gicas de uma pesquisa em psicologia social a partir da triangula??o de dados, em virtude de seu potencial de amplia??o de profundidade: a Teoria das Representa??es Sociais atrav?s da abordagem estrutural e a proposta metodol?gica da An?lise de Conte?do, associadas atrav?s de suas perspectivas poss?veis em pesquisa. Os resultados apontam o prov?vel n?cleo central das representa??es sociais com os elementos como ?anonimato?, ?black-bloc?, ?esconder?, ?prote??o? e ?vandalismo?. A an?lise de conte?do indica respostas nos termos das categorias ?experi?ncia?, ?justificativa? e ?constru??o de identidade coletiva? para aqueles que declaram j? haver usado m?scara em protestos, e as categorias ?anonimato? ?prote??o?, ?julgamento?, ?constru??o de identidade coletiva? e ?fantasia? para aqueles que declaram nunca ter feito tal uso. A triangula??o dos dados nos permite destacar a representa??o do ?anonimato? em coro com as narrativas de busca por uma constru??o de identidade coletiva como potente agenciamento coletivo, tomando o uso de m?scaras como distanciamento do indiv?duo em favor da identidade de grupo. Conclu?mos em debate com a teoria, que os atuais protestos e manifesta??es no Brasil apresentam multiplicidades de afetos em torno do comum, colocando na cena brasileira esta nova forma aut?noma de fazer pol?tica: dos espa?os que criam aos instrumentos e ?s linguagens que utilizam, at? as rela??es entre quem est? atuando, de forma que ocultar o rosto pode ser menos uma prote??o da individualidade e mais um ato de constru??o do pertencimento, da partilha de outro signo, mais social

Paul Dooley’s composition, Masks and Machines (2015), is a significant new work for wind ensemble and was the winner of the National Band Association’s William D. Revelli Memorial Band Composition Contest award and the American Bandmasters Association’s Sousa/ABA/Ostwald Composition Contest. Masks and Machines has received positive critical acclaim and numerous performances, including a performance at the 2015 Midwest Band and Orchestra Clinic in Chicago, Illinois by the North Texas Wind Ensemble under the direction of Eugene Corporon and a performance at the 2016 American Bandmasters Association Conference in Lexington, Kentucky by the United States Marine Corps Band under the direction of Jason K. Fettig. The purposes of this dissertation are 1) to place Masks and Machines in its historical perspective within the history of wind band compositions; 2) to provide an overview of the artistic styles that influenced the composer, such as Stravinsky’s Neoclassical works, Bauhaus Art, and Fortspinnung; 3) to elaborate on the musical traits and characteristics of Masks and Machines via formal analysis; and 4) to offer a guide to rehearsal and performance of the work. The Introduction discusses Masks and Machines in its historical context as a highly acclaimed wind ensemble composition within the canon of twentieth century wind band works. Chapter 1 includes a detailed biography of Paul Dooley. Chapter 2 discusses the visual art and musical influences on Paul Dooley and how these influences come to life in his wind band compositions. Chapter 3 is an analysis of Masks and Machines with thematic excerpts and discussions on form, instrumentation, orchestration, and compositional techniques. Chapter 4 provides a rehearsal and performance guide aimed to facilitate a successful performance of Masks and Machines. Chapter 5 includes a transcription of two interviews with the composer and focuses primarily on compositional influences, processes, and techniques regarding Masks and Machines and other wind band compositions by Dooley, such as Point Blank (2012), Meditation at Lagunitas (2014), and Mavericks (2016).

Thesis (Ph. D.)--Ohio State University, 2006. / Title from first page of PDF file. Includes bibliographical references (p. 198-216).