Submitted by Maike Costa (maiksebas@gmail.com) on 2017-09-20T12:16:23Z No. of bitstreams: 1 arquivototal.pdf: 961847 bytes, checksum: 41778a39d7358579ee917bda56066445 (MD5) / Made available in DSpace on 2017-09-20T12:16:23Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 961847 bytes, checksum: 41778a39d7358579ee917bda56066445 (MD5) Previous issue date: 2016-03-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The problem of the line of thought in De Anima concerns the way the human being is capable of acknowledging nature in act in view of the intellectual/thinking faculty triggered by stimuli resulting from the activity of the sense perception faculty. The investigation is aimed initially towards indispensable concepts of Aristotle’s cognitive theory. Among them, how substance is understood (form, matter and the composite of both), the definition of soul and animate being. Such notions, along with those of actuality and potentiality, are indispensable for understanding the relationship between body and soul, integrating hylomorphism. The treatment of the faculties of the soul begins with an examination of the nutritive faculty and its relationship with what is identified as life, followed by an approach towards the sense perception faculty, in which the activity consists in the reception in act of the external object’s form without matter. As a result of such activity, the one who perceives becomes in act equal to the form of that which is perceived. Besides performing an investigation pertaining to the senses, the notion of meta-perception is also approached. An analysis of the imagination as a movement that derives from the act of sense perception and that is fundamental to enable thinking is developed. Finally, to research the intellectual/thinking faculty, sense perception faculty is contrastively taken as a paradigm to attribute qualities to the faculty related to thinking. This faculty presents two functions: patient/passive intellect and active/productive intellect. From the balance of sense perception elaborated by imaginative operation, thinking, through its activity, recognizes its object: universal/ intelligible form. The result of thinking is designated as science. And the human being can only achieve such result through primarily apprehending sensitive forms related to subjects. / O problema do pensamento no De Anima diz respeito ao modo pelo qual o ser humano é capaz de conhecer em ato a natureza mediante a atividade da faculdade intelectiva/pensamento a partir de estímulos resultantes da atividade da faculdade sensoperceptiva. A investigação é voltada inicialmente para conceitos imprescindíveis para a teoria cognitiva de Aristóteles. Dentre eles, os modos de entender substância (forma, matéria e composto), a definição de alma e de ser animado. Tais noções, juntamente com as de ato e potência, são indispensáveis para a compreensão da relação entre corpo e alma, integrando o hilemorfismo. O tratamento das faculdades da alma tem início com o exame da faculdade nutritiva e com a sua relação com o que é identificado como vida. A seguir, é desenvolvida a abordagem da faculdade sensoperceptiva, cuja atividade consiste na recepção em ato da forma sensível do objeto externo sem a matéria. Como resultado de tal atividade, aquele que percebe torna-se em ato igual à forma do percebido. Além de ser feita a investigação acerca dos sentidos, aborda-se também a noção de meta-percepção. Desenvolve-se a análise da imaginação como movimento decorrente do ato da sensopercepção e que se mostra fundamental para a possibilidade do pensamento. Por fim, para a pesquisa da faculdade intelectiva/pensamento, a faculdade sensoperceptiva é tomada contrastivamente como paradigma para a atribuição de qualidades à faculdade relativa ao pensamento. Essa faculdade apresenta duas funções: pensamento paciente/passivo e pensamento ativo/produtivo. A partir do saldo da sensopercepção elaborado pela operação imaginativa, o pensamento, através de sua atividade, reconhece seu objeto: a forma inteligível/universal. O resultado do pensamento é designado como ciência. E o ser humano só chega a tal resultado através, primeiramente, da apreensão de formas sensíveis relativas a particulares.

This thesis explores the practices, motivations, and sensorial experiences of Montreal’s metro buskers. By examining the lived experiences of ‘street’ performers in the stations and connecting passageways of Montreal’s underground transit system, I consider what it ‘means’ to be a metro busker from the perspective of the performers. Informed by my ethnographic fieldwork among metro buskers, I detail their performance practices, ‘staging’ strategies, uses of technology, bodily dispositions, and subjective perceptions in relation to the public, each other and the spaces of performance. In the process, I make visible—and audible—the variable and improvisational nature of busking practices, and how these are constituted in relation to the physical features of the performance sites. More broadly, I explore the co-productive relations between body and space, the sensorial experiences and spatial practices of everyday urban life, and the potential for moments of micro-social encounter and appropriations of spaces that are not designed to foster conviviality and creative engagement. I locate ‘the busker’ within these questions not as a fixed identity or subject-position but as an embodied assemblage-act that is socially and materially situated and subjectively enacted through highly variable practices, perceptions and experiences. In detailing the moments of social encounter precipitated by metro buskers, I propose understanding busking as a form of Gift-performance that finds certain parallels in sensory ethnographic videography. I show how the influences of diverse participants—human and material—on the filming, editing, and distribution processes changed the course of the audio-visual production in this research. Finally, I introduce a notion of ‘expanded trajectory’ that links performer and space, researcher and participant, and may enable new acts of encounter and exchange, new processes of social and material circulation, new forms of Gift. / Graduate / 2018-05-15 / 0326 / nick.wees@gmail.com

Made available in DSpace on 2015-05-14T12:11:40Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 826436 bytes, checksum: 8639b71de3887dfd39597dc73cc31adb (MD5) Previous issue date: 2011-03-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The analysis of sense-perception is fundamental for understanding Aristotle‟s cognitive proposal as well as for the efficiency of the cognition complex. To understand it, one shall begin by studying the relationship between body and soul as integrated parts of hylomorphic theory constituting concepts matter, form, act and potency. Hylomorphism is a mereological theory: the functioning of the whole is secured by the analog functioning of each of its parts. The sense-perceptive faculty is the first to distinguish an animal. It must be understood according to hylomorphic theory. The sense-perception occurs in act when sense which as potency is able to receive sensitive forms follows the motion of the medium resulting from the act of the perceived. Therefore sense-perception consists in receiving the sensitive form without the matter. Once the process is through, the perceiving becomes equal in form to the perceived. But only the sensitive perception of its proper can be infallible, for it connects perception and perceived in act. Imagination, on the other hand, is a movement which comes from the act of sensitive perception. It is a full complex of operations designed to connect sensations to thoughts. Such positive function is balanced by another, a negative one which sets the conditions and possibilities of truth and falsity. "Passive" and "productive" thoughts act on imagination. While the former absorbs the products of the synthesis between sense-perception and imagination, the latter's goal is to make sure the final product of the cognition displays reality as it is, resulting in a perfect cognitive act. / A análise da senso-percepção é fundamental para a compreensão da proposta cognitiva de Aristóteles, bem como para a eficiência do complexo da cognição. Para compreendê-la é necessário começar pelo estudo da relação entre corpo e alma, integrados nos conceitos constitutivos da teoria hilemórfica, a saber: matéria, forma, ato, potência. Mas o hilemorfismo é uma teoria mereológica: o funcionamento do todo é assegurado pelo funcionamento análogo de cada uma das partes. A faculdade senso-perceptiva é a que primeiro caracteriza o animal e deve ser compreendida segundo a teoria hilemórfica. A senso-percepção ocorre em ato quando o sentido que, enquanto potência, é capaz de receber formas sensíveis é movido conforme o movimento do meio, advindo do ato do percebido. Por isso, a senso-percepção consiste em receber a forma sensível sem a matéria. Ao final desse processo, o percipiente torna-se igual à forma do percebido. Mas apenas a senso-percepção dos próprios pode ser infalível, porque conecta dois atos: da percepção e do percebido. Já a imaginação é um movimento decorrente do ato da percepção sensível. É um complexo de operações cuja função é ligar a sensação ao pensamento. Essa função positiva é compensada por outra, negativa , de estabelecer as condições de possibilidade do engano e da falsidade. Sobre ela incidem os dois pensamentos: passivo e produtivo . Enquanto o primeiro capta os produtos da síntese da senso-percepção e imaginação, ao segundo cabe a função de garantir que o produto final da cognição reproduz a realidade tal como ela é, consumando o ato cognitivo perfeito.

Vejnarová, P.: Physical action of a painter [Diploma thesis] Prague 2013 - Charles University, Faculty of Education, Department of Art Education, (Notes: DVD - The record of the realization of practical part of the thesis). Abstract The theme of the diploma thesis "Physical action of a painter" is the analysis of gesture, body, movement, sense perception, dance in relation to visual art. In the theoretical part there is dealt with the artists of action art for whom the gesture, dance and movement during the art creation is principal and dominant. The didactic part is made up of an art project where the particular art series ("Gesture", "Movement", "Body", "Sense perception") and art topics are related and mingled together. In the art project there are the mentioned terms transformed on a didactic way and most of the art topics are verified in the pedagogic practise. The theme is complemented with the own creation of action painting - visual art in conjunction with dance and music. In this thesis there are used professional publications about the given topic.

Aristotle on Experience of Pain Master thesis ÚFaR FF UK Bc. Vojtěch Linka Supervisor: Mgr. Robert Roreitner Abstract in English: In my master thesis, I focus on the problem of experiencing pain in Aristotle. My work is based on analysis of Nicomachean Ethics and On the soul. With these texts, I reconstruct Aristotle's theory of pain. I start with an analysis of pleasure and of the pair pleasure-pain, by which I gain basic material for further work. The most important idea here is that there is a connection between pleasure and activity (energeia). I will use this idea in the analysis of pain, too. Pain will be analyzed through passages where Aristotle explicitly mentions it and through a thought experiment, where I focus on how Aristotle would have explained chronic pain. After these analyses I will be able to formulate a theory of pain, where pain is understood as something which hinders activity. I interpret this theory in the context of Aristotle's psychology. After the analyses and interpretation, I am able, at the end of my work, answer the question how animals are experiencing pain.

Around the time of his famous conversion in 386, Augustine planned to dedicate a treatise to each of the artes liberales. However, he finished only a work on grammar and the first part of the De musica (books I-VI), which deals with rhythmus\the second part, which was to treat melos, was never written, since Augustine became occupied with his ecclesiastical career. The present work is the first critical edition of the sixth book of the De musica; the Latin text is accompanied by an English translation. The introduction includes a full analysis of the manuscript tradition from the 8th to the 14th century and a selective analysis of the later manuscript tradition. Among the conclusions reached are that all extant manuscripts descend from a single archetype which is not identical with the original text, that most manuscripts can be divided into four families, and that the text can be established on the basis of six of the oldest manuscripts. The introduction also contains a discussion of the much-debated question concerning Augustine's own revision of the sixth book, a section where solutions are proposed to several textual problems that were confronted during the establishment of the text, and a selective commentary on the contents of the sixth book of the De musica.

Entre 1911 et 1920, Kazimir Malévitch découvre de nouvelles lois artistiques. Grâce à l' « Optique physiologique » d'Hermann von Helmholtz (1856-1866), il transforme les lois scientifiques des sensations optiques (couleur, lumière, mouvement) et celles des structures optiques de la vision en lois artistiques avec lesquelles il crée ses tableaux néo-primitivistes (1911-1912), proto-cubistes (1912-1913), futuristes (1912), cubistes (1913-1914) et suprématistes (1915-1920). Cette transformation des lois scientifiques de la vision en principes créatifs explique les innovations et l'évolution stylistique de Malévitch de 1911 à 1920. Ces découvertes sur les procédés créatifs de Malévitch sont totalement nouvelles, car ce travail est le premier à porter sur ce sujet. La présente thèse est composée de deux parties. La première présente en trois chapitres les lois de la perception sensorielle. Ell explique comment l'oeil voit la direction, la position, la taille et les dimensions dans le champ visuel. La seconde consiste également en trois chapitres, dans lesquels l'auteur analyse l'exploration par Malévitch de la sensation et de la perception sensorielle dans ses tableaux néo-primitivistes et proto-cubistes, de la perception sensorielle seule dans le cubisme et des sensations de couleur et de lumière pures dans le suprématisme. Tandis que la science révèle à l'artiste les vérités de la vision, les tableaux de Malévitch deviennent l'art de la vision optique. Ces recherches fournissent une contribution majeure pour la compréhension de l'oeuvre de Kazimir Malévitch. / Between 1911 and 1920, Kazimir Malevitch was discovering new artistic laws with which to create. Relying on Hermann von Helmholtz's, « Treatise on Physiological Optics (1856-1866), scientific laws of optical sensations (colour, light and movement) and optical structures of seeing were transformed into artistic laws. With them Malevitch created his Neo-Primitivist paintings (1911-1912), Proto-Cubist paintings (1912-1913), Futurist paintings (1912), Cubist paintings (1913-1914), and Suprematist paintings (1915-1920). Adapting scientific laws of vision to creative laws of painting is what accounts for Malevitch's innovations and artistic development, 1911-1920.These are entirely new discoveries about malevitch's creative processes, a subject investigated here for the first time. Divided into two parts, the first part consists of three chapters on the science of optical sensations, the laws of light and colour, and the laws of sense perceptions : how the eye sees direction, position, size and dimensions in the visual field. The second part consists of three chapters analysing how Malevitch explored sensation and sense perception in the Neo-Primitive and Proto-Cubist paintings, sense perception in Cubism, and, in Suprematism, the pure sensations of colour and light. With science providing the truths of vision, Kazimir Malevitch's paintings became the art of the seeing eye, and this is a major new contribution to the understanding of the painting of Kazimir Malevitch.