SILVA, Hermínia Maria Lima da. As práticas intertextuais hiperestéticas em obras de conteúdo bíblico. 2016. 280f. – Tese (Doutorado) – Universidade Federal do Ceará, Departamento de Letras Vernáculas, Programa de Pós-graduação em Linguística, Fortaleza (CE), 2016. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-01-30T13:09:23Z No. of bitstreams: 1 2016_tese_hmlsilva.pdf: 7309277 bytes, checksum: 14ea007bd1820ac07ce814aa9d73723c (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-01-30T16:32:28Z (GMT) No. of bitstreams: 1 2016_tese_hmlsilva.pdf: 7309277 bytes, checksum: 14ea007bd1820ac07ce814aa9d73723c (MD5) / Made available in DSpace on 2017-01-30T16:32:28Z (GMT). No. of bitstreams: 1 2016_tese_hmlsilva.pdf: 7309277 bytes, checksum: 14ea007bd1820ac07ce814aa9d73723c (MD5) Previous issue date: 2016 / This research was done, in the broader sense, to review Genette’s (2010) theoretical proposal of hyper-aesthetic intertextual practice and, in the strict sense, to propose a new theoretical and methodological framework for future analyses of such intertextual phenomenon. For this purpose a corpus composed of non-verbal texts was analyzed: thirty pairs of biblical-themed works of art created between the 15th and 21st century, from the Renaissance to Contemporaneity. This research also aimed to detect whether there were more cases of capture or subversion of meaning among the derivative works of art in comparison to the verbal biblical text source. In the belief of the possibility to define new categories to investigate hyper-aesthetic intertextual practice, in addition to those already identified by Genette (2010), justified the analysis. Therefore the Comparison Analysis Method of Art Works by Feldeman (2012) was adopted as well as the analysis scheme proposed by Barthes (1986), and the concepts of capture and subversion registered by Charaudeau and Maingueneau (2004). The analysis revealed significant findings, among them notably: 1ª) the need to change the terminology used by Genette (2010) for the intertextual occurrences; 2ª) acceptance of the idea, already pointed out by other researchers, that the allusion is a constitutive occurrence of intertextual derivational occurrences; 3ª) the definition of two new categories for the hyper-aesthetic practice, austerism and transfiguration, in addition to the three already identified by Genette (2010), transposition, parody and travesty; and 4ª) the predominance of capture occurrences among the analyzed art works and the founding biblical text. This research may likely contribute to further studies of the phenomenon of intertextuality, especially to the dialogue between non-verbal texts, which still lacks a greater in-depth study, but has been proven to be a very fertile field. / Esta pesquisa vem, em sentido amplo, rever a proposta teórica de Genette (2010) para as práticas intertextuais hiperestéticas e, em sentido estrito, propor um novo quadro teóricometodológico para futuras análises desse tipo de fenômeno intertextual. Com este intuito, partiu-se da análise de um corpus composto por textos não verbais, trinta pares de obras de arte de temática bíblica produzidas entre os séculos XIV e XXI, do Renascimento à Contemporaneidade. À pesquisa interessou também observar se, entre as obras derivadas, ocorreram mais casos de captação ou subversão de sentido em relação ao texto-fonte verbal bíblico. A análise justifica-se pelo fato de acreditar-se na possibilidade de definição de novas categorias para investigar as práticas intertextuais hiperestéticas, além daquelas já apontadas por Genette (2010). Para tanto, adotou-se o Método de Análise Comparativa entre Obras de Arte, de Feldeman (2012) e, junto a ele, invocou-se o esquema de análise proposto por Barthes (1986), assim como os conceitos de captação e subversão registrados em Charaudeau e Maingueneau (2004). A análise revelou constatações significativas, entre as quais se destacam: 1ª) Necessidade de alteração da terminologia utilizada por Genette (2010) para as ocorrências intertextuais; 2ª) Admissão da ideia já apontada por outros pesquisadores de que a alusão é uma ocorrência constitutiva das ocorrências intertextuais derivacionais; 3ª) Definição de duas novas categorias para as práticas hiperestéticas, austerismo e transfiguração, além das três já apontadas por Genette (2010), transposição, paródia e travestimento; e 4ª) Predominância de ocorrências de subversão na relação entre as obras analisadas e o texto bíblico fundador. Acredita-se que a investigação da pesquisa ora apresentada possa vir a contribuir com os estudos do fenômeno da intertextualidade, em especial, em um campo ainda carente de aprofundamento, o qual vem se mostrando muito fértil: o diálogo entre textos não verbais.

Au cours de cette thèse nous nous sommes intéressés à la problématique du démélange hyperspectral en milieux urbains. En particulier nous nous sommes penchés sur la prise en compte du phénomène de variabilité intra-classe dans les méthodes de démélange. La mise en évidence de la variabilité intra-classe a été le point de départ de cette étude. Nous avons ainsi constaté que ce phénomène était non-négligeable dans les milieux urbains et qu'il devait être pris en compte. En nous basant sur des modèles de mélange existants dans la littérature nous avons développé deux nouveaux modèles de mélange prenant en compte cette variabilité intra-classe. Le premier est un modèle de mélange linéaire. Le second est un modèle linéaire-quadratique qui permet de prendre en compte les réflexions multiples sur les bâtiments. Dans un premier temps nous ne nous sommes intéressés qu'au cas des modèles linéaires. Comme aucune méthode de la littérature ne permet d'effectuer le démélange à partir de nos modèles de mélange nous avons développé deux méthodes UP-NMF et IP-NMF. UP-NMF est une adaptation de la méthode NMF à notre modèle de mélange. Pour rendre compte de la notion de classes de matériaux purs une contrainte sur l'inertie des classes a été ajoutée à UP-NMF pour obtenir IP-NMF. Les premiers tests ont été effectués sur données semi-synthétiques et ont permis de déterminer l'impact de l'initialisation de ces méthodes sur leurs performances et de fixer le paramètre d'inertie. Les performances de UP-NMF et IP-NMF ont été comparées à celles des méthodes standards de démélange. Les seconds tests ont été effectués sur une portion d'image de Toulouse. Dans cette partie nous avons mis en évidence que, contrairement à des méthodes standards, les résultats de IP-NMF étaient peu sensibles à une erreur sur l'estimation du nombre de classes pures. Finalement nous avons développé une méthode de démélange linéaire-quadratique, LQIP-NMF, en nous basant sur le modèle que nous avons mis en place. Les tests de LQIP-NMF ont montré qu'en cas de trop forte variabilité intra-classe les effets de non-linéarité étaient de second ordre et qu'il ne semblait pas pertinent de les prendre en compte. / This work is devoted to unmixing for urban areas. We particularly focused on the impact of intra-class variability on unmixing. We first described the results of a study highlighting intra-class variability assessed in real images. It appeared that this phenomenon was significant and had to be included in the mixing models. Based on the state of the art we developed 2 new mixing models dealing with intra-class variability. The first one is a linear one. The second one is a linear-quadratic one which allows to consider multiple scattering effects on buildings. First only the linear mixing model was considered. Currently it does not exist any unmixing method able to deal with this new model. So two methods were developed, UP-NMF and IP-NMF. UP-NMF is a new unmixing method based on an extension of the standard NMF. To overcome UP-NMF limitations an extended method is proposed, IP-NMF, which limit the spreading of each class by adding an inertia constraint in the cost function. These methods were firstly tested on a semi-synthetic data set. These tests allowed us to study the impact of the initialisation on our methods performance and also to fix the inertia parameter. We also compared the results of UP-NMF and IP-NMF to the results obtained with standard methods. The second tests were performed on an image taken above Toulouse. It appeared that IP-NMF is less sensitive to an error in the estimation of classes number than standard methods. Finally we developed a linear-quadratic method, LQIP-NMF, dealing with the non-linear mixing model previously described. In cases of high intra-class variability, the quadratic terms are drowned in the large variability of materials. So it seems that it is not relevant to taking into account these non-linearities.

A presente pesquisa consiste na análise de um processo de criação que parte da captura de fragmentos do cotidiano para sua remontagem em pílulas sonoras e audiovisuais, propondo diferentes possibilidades de ocorrências e de instauração dos trabalhos. Para tanto, é feita uma contextualização dos aspectos característicos desta produção em articulação com obras de outros artistas e pesquisadores. Neste sentido, são investigadas as práticas de registro e edição audiovisual, seus estudos correlatos, e as questões conceituais e teóricas envolvidas na constituição deste trabalho. / This reasearch consists of the analysis of a body of work that captures fragments of everyday life situations for reassembly into sound and audiovisual pills, offering different possibilities of works occurrences and its establishment. Therefore, we contextualize the characteristic aspects of this production in conjunction with the works of other artists and researchers. In this sense, audiovisual recording and editing practices are investigated, its related studies, and the conceptual and theoretical issues involved in the creation of this work.

A presente pesquisa consiste na análise de um processo de criação que parte da captura de fragmentos do cotidiano para sua remontagem em pílulas sonoras e audiovisuais, propondo diferentes possibilidades de ocorrências e de instauração dos trabalhos. Para tanto, é feita uma contextualização dos aspectos característicos desta produção em articulação com obras de outros artistas e pesquisadores. Neste sentido, são investigadas as práticas de registro e edição audiovisual, seus estudos correlatos, e as questões conceituais e teóricas envolvidas na constituição deste trabalho. / This reasearch consists of the analysis of a body of work that captures fragments of everyday life situations for reassembly into sound and audiovisual pills, offering different possibilities of works occurrences and its establishment. Therefore, we contextualize the characteristic aspects of this production in conjunction with the works of other artists and researchers. In this sense, audiovisual recording and editing practices are investigated, its related studies, and the conceptual and theoretical issues involved in the creation of this work.

A presente pesquisa consiste na análise de um processo de criação que parte da captura de fragmentos do cotidiano para sua remontagem em pílulas sonoras e audiovisuais, propondo diferentes possibilidades de ocorrências e de instauração dos trabalhos. Para tanto, é feita uma contextualização dos aspectos característicos desta produção em articulação com obras de outros artistas e pesquisadores. Neste sentido, são investigadas as práticas de registro e edição audiovisual, seus estudos correlatos, e as questões conceituais e teóricas envolvidas na constituição deste trabalho. / This reasearch consists of the analysis of a body of work that captures fragments of everyday life situations for reassembly into sound and audiovisual pills, offering different possibilities of works occurrences and its establishment. Therefore, we contextualize the characteristic aspects of this production in conjunction with the works of other artists and researchers. In this sense, audiovisual recording and editing practices are investigated, its related studies, and the conceptual and theoretical issues involved in the creation of this work.

O objetivo desta pesquisa é apresentar duas cenas de festas de música eletrônica underground, uma na cidade de São Paulo e outra em Berlim. Estas festas são frequentadas por um público diverso em termos de sexualidade, majoritariamente oriundo da classe média: DJs, músicos e produtores das festas, além de estudantes universitários, artistas e profissionais da área da comunicação (design, publicidade, audiovisual, entre outras áreas). As festas reúnem pessoas para dançar e ouvir música, consumir drogas lícitas e ilícitas e sociabilizar. São ambientes férteis para experimentos estéticos e sensoriais, e proporcionam espaço para vivência de práticas erótico- afetivas variadas, além de contarem frequentemente com performances artísticas que levantam questões sobre corpos fora dos padrões, gênero, sexualidade, raça e classe. Em São Paulo, parte da cena é composta por festas de rua, que suscitam debates sobre o espaço público, acompanhando certas discussões da militância urbana contemporânea. A outra parte é composta por festas realizadas em espaços alternativos a clubes, como bares, galpões, fábricas, estacionamentos. Em Berlim, a visibilidade e o crescente turismo da noite têm tensionado a polaridade underground/mainstream e a busca pelo equilíbrio entre a abertura da cena e a manutenção de espaços seguros. A cultura de prazer, êxtase e liberdade propiciada pelas festas aproxima as pessoas de uma maneira incomum em outros ambientes. Potencializada pelo uso coletivo de certas drogas e pelo consequente relaxamento de barreiras sociais de gênero e sexualidade, a experiência clubber estimula novas formas de se relacionar com o corpo e com o prazer que desestabilizam normas e convenções naturalizadas na sociedade mais ampla. Entretanto, persistem tensões e desigualdades relativas aos marcadores sociais da diferença. Eminentemente coletiva, a experiência clubber é tema de debate e disputa, e se traduz em políticas do corpo e do prazer, ultrapassando o fim de semana e transbordando para a vida cotidiana de muitos participantes das cenas. / The objective of this research is to present two scenes of electronic underground music parties, one in the city of São Paulo and another in Berlin. These parties are attended by an audience sexually diversified, mostly from middle-class: DJs, musicians and party producers, as well as university students, artists and professionals of social communication (design, advertising, audiovisual, among other areas). The parties gather people to dance and listen to music, consume licit and illicit drugs and socialize. They are fertile environments for aesthetic and sensorial experiments and provide space for varied erotic-affective practices; also often feature artistic performances that raise questions about non-standard bodies, gender, sexuality, race and class. In São Paulo, part of the scene is composed of street parties, which evoke debates about public space, accompanying certain discussions of contemporary urban militancy. The other part is made up of parties held in spaces other than clubs, such as bars, sheds, factories, parking lots. In Berlin, the visibility and growing nightlife tourism has stressed the underground/mainstream polarity and the search for balance between the opening of the scene and the maintenance of safe spaces. The culture of pleasure, ecstasy, and freedom lived at the parties brings people together in an way that is unusual in other settings. Potentialized by the collective use of certain drugs and the consequent relaxation of social barriers of gender and sexuality, the clubber experience stimulates new ways of relating to body and pleasure that displace norms and conventions naturalized in wider society. However, tensions and inequalities regarding social markers of difference persist. Eminently collective, the clubber experience is topic of debate and dispute, and translates in politics of body and pleasure, surpassing the weekend and advance into daily life of many participants of the scenes.

Context. Reaching photo realistic results when rendering 3D graphics in real-time is a hard computational task. Ray-tracing gives results close to this but is too expensive to be run at real-time frame rates. On the other hand rasterized methods such as deferred rendering are able to keep the tight time constraints with the support of modern hardware. Objectives. The basic objective is to merge deferred rendering and ray-tracing into one rasterized pipeline for dynamic scenes. In the thesis the proposed method is explained and compared to the methods it merges. Image quality, execution time and VRAM usage impact are investigated. Methods. The proposed method uses deferred rendering to render the result of the primary rays. Some pixels are marked, based on material properties for further rendering with ray-tracing. Only reflections are presented in the thesis but it has been proven that other global illumination effects can be implemented in the ray-tracing framework used. Results and Conclusions. The hybrid method is proved through experiments to be between 2.49 to 4.19 times faster than pure ray-tracing in the proposed pipeline. For smaller scenes it can be run at frame rates close to real-time, but, for larger scenes such as the Crytek Sponza scene the real-time feeling is lost. However, interactivity is never lost. It is also proved that a simple adjustment to the original framework can save almost 2/3 of the memory spent on A-buffers. Image comparisons prove that the technique can compete with offline ray tracers in terms of image quality.

Any image can be described in terms of its statistics (i.e. quantitative parameters calculated from the image, for example RMS-contrast, the skewness of image brightness distribution, and slope constant of an average amplitude spectrum). It was previously shown that insect and vertebrate visual systems are optimised to the statistics common among natural scenes. However, the exact mechanisms of this process are still unclear and need further investigation. This thesis presents the results of examining links between some image statistics and visual responses in humans and hoverflies. It was found that while image statistics do not play the main role when hoverflies (Eristalis tenax and Episyrphus balteatus) chose what flowers to feed on, there is a link between hoverfly (Episyrphus balteatus) active behaviours and image statistics. There is a significant difference in the slope constant of the average amplitude spectrum, RMS contrast and skewness of brightness distribution between photos of areas where hoverflies were hovering or flying. These photos were also used to create a prediction model of hoverfly behaviour. After model validation, it was concluded that photos of both the ground and the surround should be used for best prediction of behaviour. The best predictor was skewness of image brightness distribution. By using a trackball setup, the optomotor response in walking hoverflies (Eristalis tenax) was found to be influenced by the slope constant of an average amplitude spectrum.  Intracellular recording showed that the higher-order neuron cSIFE (The centrifugal stationary inhibited flicker excited) in the hoverfly (Eristalis tenax) lobula plate was inhibited by a range of natural scenes and that this inhibition was strongest in a response to visual stimuli with the slope constant of an average amplitude spectrum of 1, which is the typical value for natural environments.  Based on the results of psychophysics study in human subjects it was found that sleep deprivation affects human perception of naturalistic slope constants differently for different image categories (“food” and “real world scenes”). These results help provide a better understanding of the link between visual processes and the spatial statistics of natural scenes.

Crime scene examiners (CSEs) spend long hours at traumatic crime scenes, and interact closely with various elements of crime scenes. The topic has only recently attracted international research interest, and in the South African context the offering is meagre. The study set out to determine the profile of Southern Gauteng CSEs; to establish the scope of their tasks and responsibilities; to ascertain their trauma levels in relation to traumatic crime scenes and autopsies; to identify the specific coping strategies they use; to determine their context-specific experiences of job-related stress and trauma; and to ascertain the measure to which they experience contentedness within their workplace and their views on both briefing and debriefing. In pursuit of the objectives of the study, the research paradigm was rooted in positivism. Consequently, a quantitative approach was adopted and a cross-sectional design was employed. Through convenience sampling, 103 respondents were recruited from all eight Local Criminal Record Centres (LCRCs) in Southern Gauteng. The data gathering instrument was a paper-based, self-administered structured questionnaire, which included two standardised measuring instruments for trauma levels and coping strategies respectively. The Kolmogorov-Smirnov and Shapiro-Wilk tests indicated that non-parametric statistical procedures were required. Using the Mann Whitney U test, bivariate analysis allowed for testing the relationships between variables. The findings demonstrate that male CSEs outnumber female CSEs by approximately 3:1. CSEs attend violent crime scenes with striking regularity, but autopsies less frequently. Significant proportions of CSEs are routinely required to both take photographs of crime scenes and compile photo albums. A sizeable number of CSEs present with concerning levels of Post-traumatic Stress Disorder (PTSD) symptomology. The coping strategy adopted by majority of respondents is acceptance. Although attended less frequently, crime scenes involving deceased children are experienced as very distressing. A large proportion of CSEs are hesitant to access debriefing services, for numerous reasons, despite feeling the need to talk to someone about their work. The trauma experienced by CSEs is unique compared with other policing units. Therefore, it is recommended that trauma interventions should be responsive to their needs. Lastly, the CSEs who have been diagnosed with mental health conditions seem to be at significant risk, and thus they should receive special attention in future interventions. Keywords: crime scene examiner, Local Criminal Record Centres, trauma, traumatic event, crime scene, traumatic crime scene, emotional stress, coping strategy, autopsy, Post-traumatic Stress Disorder, Southern Gauteng. / Dissertation (MA (Criminology))--University of Pretoria, 2020. / Social Work and Criminology / MA (Criminology) / Restricted

To be able to operate in the world around us, we need to store visual information for further processing. Since we are able to memorize a vast array of visual scenes (photographs of the outside world), it is still an open question of how we represent these scenes in memory. Research shows that perception and memory for visual scenes is a complex problem that requires contribution from many subfields of vision science. In this work we focused on the visual scene memory on the creation of perceptual prototypes. Using convolutional neural networks, we defined the similarity of scenes in the scene space, which we used in two experiments. In the first experiment, we validated this space using a paradigm for detecting an odd scene. In the second experiment, using the Deese-Roediger-McDermott paradigm, we verified the creation of false memories and thus visual prototypes. The results show that people intuitively understand the scene space (Experiment 1) and that a visual prototype is created even in the case of the complex stimuli such as scenes. The results have wide application either for machine evaluation of image similarities or for visual memory research.