De que maneira a relação entre o contexto histórico, o imaginário do tango argentino e o método Dinzel de ensinamento é capaz de contribuir para o ensino e a aprendizagem do tango dança? Esta foi a pergunta que norteou este trabalho de dissertação. O presente texto apresenta informações históricas, contextualizadas socioculturalmente, e sintetiza o método de dança do professor e Tangueiro Rodolfo Dinzel e suas aplicações práticas. Entremeado com estes conteúdos, o autor revela suas descobertas como tangueiro e como professor de tango no decorrer deste estudo, e juntamente com suas descobertas traz contribuições contextuais da prática pessoal no tango. Esta dissertação se concentra na área de Práticas e processos em artes do Programa de Pós-Graduação em Artes da UFU e tem como objetivo oferecer aos interessados um texto funcional para o ensinoaprendizagem do tango em âmbito extra-acadêmico. Intenta-se com isso facilitar uma vivência significativa do processo de aprendizagem, uma vez que se propõe ser uma ferramenta para reinventar continuamente as formas de ensinar. Nesta perspectiva o aluno é convidado a descobrir o seu próprio bailar. E por fim, chegamos a conclusão de que o método Dinzel pode contribuir exponencialmente para a qualidade e consciência do bailado do tango. / In which way is the relation between the historical context, the imagination of the Argentine tango and the Dinzel teaching method able to contribute for the education and learning of the tango? This was the question that guided this dissertation project. This text presents historical socioculturally contextualized data; it summarizes the teacher and Tanguero Rodolfo Dinzel’s dance method and its practical applications. Interspersed with these contents, the author reveals his findings as a Tanguero and tango teacher throughout this study; and along with his findings, he makes contextual contributions considering his personal tango practice. The goal of this dissertation, which is focused on the area of artistic practices and processes of the Postgraduate Program in Arts of UFU, is to offer a functional text for the education and learning process of the tango, in an environment that can go beyond the university walls. Proposed as a tool to continuously reinvent the way of teaching tango, this dissertation aims to facilitate the creation of a meaningful experience of the learning process. In this perspective, students are invited to discover their own way of dancing. As a conclusion, one can say that the Dinzel method is able to contribute exponentially to the quality and awareness in the tango dance. / Dissertação (Mestrado)

abstract: When dancers are granted agency over music, as in interactive dance systems, the actors are most often concerned with the problem of creating a staged performance for an audience. However, as is reflected by the above quote, the practice of Argentine tango social dance is most concerned with participants internal experience and their relationship to the broader tango community. In this dissertation I explore creative approaches to enrich the sense of connection, that is, the experience of oneness with a partner and complete immersion in music and dance for Argentine tango dancers by providing agency over musical activities through the use of interactive technology. Specifically, I create an interactive dance system that allows tango dancers to affect and create music via their movements in the context of social dance. The motivations for this work are multifold: 1) to intensify embodied experience of the interplay between dance and music, individual and partner, couple and community, 2) to create shared experience of the conventions of tango dance, and 3) to innovate Argentine tango social dance practice for the purposes of education and increasing musicality in dancers. / Dissertation/Thesis / Doctoral Dissertation Music 2017

This thesis examines the practice of an Argentine Tango dance community in the East Midlands, England. It is an ethnographic study whose objectives are to investigate this instance of a local transcultural dance practice in order to learn about participants’ motivations; their experience of and identification with Argentine Tango; and the meanings produced in the process of their participation. As a social dancer, teacher and insider researcher, I employ embodiment as a key methodological strategy in order to engage with and share the experience of dancing with participants; to gain sensory understanding and bodily knowledge of the practice; and in the process to gain access to further avenues of meaning-making amongst participants. The study considers questions arising directly from my teaching role to do with the transmission and reproduction of the dance, authenticity, the production of meaning, the construction and performance of identity and the imaginative construction of post-modern cultural practices. The nature of space and place is considered, as is Turner’s distinction between liminoid and liminal activity with regard to ritual and communitas in relation to Argentine Tango. Alongside participant discussions, I explore various perspectives on the cosmopolitan appropriation and exoticisation of Argentine Tango; the diffusion, re-territorialisation and globalisation of Argentine Tango since the late 1980s. Data was produced using ethnographic tools, including video recording, shared reviewing and feedback from participants. The thesis analyses findings to show how participants project narratives of the imagination into their dancing, thereby providing frameworks of meaning which crucially underpin and sustain this practice. These imagined narratives are compared to journeys, both literal and of the imagination, enabling the creative construction of new identities, the exploration of self in relation to others and an escape from everyday life in postmodernity.

1- Généralisation des fibrés instantons spéciaux sur P^2n+1 qui est appelée les fibrés (b+1)-instantons pondérés sur P^2n+1. On a étudié la stabilité de ces fibrés dans le cas où b=0. On a étudié la déformation de fibrés de Steiner pondérés sur P^2n+1. 2- Généralisation des fibrés de Tango sur P^n qui est appelée les fibrés de Tango pondérés sur P^n. On a étudié la stabilité de ces fibrés vectoriels. On a étudié la déformation de ces fibrés vectoriels. 3- Construction de fibrés vectoriels de rang 3 sur P^4. On a étudié la condition pour avoir des fibrés vectoriels qui ne sont pas isomorphes à une somme directe de trois fibrés en droites. / 1 - Generalization of the special instanton bundles on P^2n+1 which is called the (b+1)-weighted instanton bundles on P^2n+1. The stability of these vector bundles was studied in the case b=0. We studied the deformation of weighted Steiner bundles on P^2n+1. 2 - Generalization of the Tango bundles on P^n which is called the weighted Tango bundles on P^n. The stability of these vector bundles has been studied. The deformation of these vector bundles has been studied. 3 - Construction of vector bundles of rank 3 on P^4. We have studied the condition to have vector bundles that do not isomorphic to a direct sum of three line bundles.

With the rise of accessible, affordable, and portable scanning technologies, new possibilities of making scanning real world objects available for a wider range of applications have emerged. Together with the advancements made in making point set processing and surface reconstruction effcient and easily implementable, it may be possible to combine these to make a portable scanner that produces 3D representations of real world objects that are usable for game development purposes. This thesis explores to what extent surface reconstructions created from point sets gathered with Google Tango is useful in game development processes. To explore this, a mobile application and a software program have been iteratively developed and evaluated through a user study. The results suggest that the surface reconstruction may be useful in the development of a game engine project as a basis for creating models on top of. / Med ökningen av tillgängliga, prisvärda och bärbara skanningsteknologierhar nya möjligheter att göra skanning av riktiga objekt tillgängligtför ett brett spektrum av applikationer uppstått. Tillsammans medde framsteg som gjorts för att göra punktmolnsbearbetning och ytrekonstruktionereffektiva och lätt implementerbara kan det vara möjligtatt kombinera dessa för att skapa en bärbar skannare som producerar3D-representationer av verkliga objekt som kan användas förspelutvecklingsändamål. Denna avhandling undersöker i vilken utsträckningytrekonstruktioner som skapats från punktmoln som samlatsmed Google Tango är användbara i spelutvecklingsprocesser. Föratt utforska detta har en mobilapplikation och ett program utvecklatsiterativt och utvärderats med hjälp av en användarstudie. Resultatentyder på att ytrekonstruktionerna kan vara användbara vid utvecklingenav ett spelmotorsprojekt, men som grund för att skapa modellerutifrån.

There are many forms of speed control for an autonomous ground vehicle currently in development. Most use a simple PID controller to achieve a speed specified by a higher-level motion planning algorithm. Simple controllers may not provide a desired acceleration profile for a ground vehicle. Also, without extensive tuning the PID controller may cause excessive speed overshoot and oscillation. This paper examines an approach that was designed to allow a greater degree of control while reducing the computing load on the motion planning software. The SpAM+PI (Speed-based Acceleration Map + Proportional Integral controller) algorithm outlined in this paper uses three inputs: current velocity, desired velocity and desired maximum acceleration, to determine throttle and brake commands that will allow the vehicle to achieve its correct speed. Because this algorithm resides on an external controller it does not add to the computational load of the motion planning computer. Also, with only two inputs that are needed only when there is a change in desired speed or maximum desired acceleration, network traffic between the computers can be greatly reduced. The algorithm uses splines to smoothly plan a speed profile from the vehicle's current speed to its desired speed. It then uses a lookup table to determine the correct pedal position (throttle or brake) using the current vehicle speed and a desired instantaneous acceleration that was determined in the splining step of the algorithm. Once the pedal position is determined a PI controller is used to minimize error in the system. The SpAM+PI approach is a novel approach to the speed control of an autonomous vehicle. This academic experiment is tested using Odin, Team Victor Tango's entry into the 2007 DARPA Urban Challenge which won 3rd place and a $500,000 prize. The evaluation of the algorithm exposed both strengths and weaknesses that guide the next step in the development of a speed control algorithm. / Master of Science

En Argentine et à l'étranger, le tango inspire un engouement croissant depuis un peu plus de dix ans. Mais lorsqu'on fait référence au tango on omet souvent que l'on désigne en fait un ensemble complexe d'expressions artistiques populaires -musique, danse et paroles chantées- qui mettent en scène une identité argentine. Les identités sont en effet le résultat de constructions discursives -informées par les discours sociaux sur les rapports de classe, de race et de sexe- qui se manifestent et font l'objet d'une reformulation constante dans les objets culturels. L'objectif consiste à comprendre comment une identité est véhiculée dans le tango et à identifier les discours sociaux qui l'ont construite selon des modalités singulières en fonction des époques. Pour ce faire, nous travaillerons à partir du corpus des refrains et des strophes constitué par l'ethnologue Robert Lehmann-Nitsche dans son ouvrage Textos Eróticos del Río de la Plata, ainsi que à partir des paroles de tango publiées entre 1900 et 1935, période qui correspond à deux étapes fondamentales : la Guardia Vieja et la Guardia Nueva. L'étude de l'œuvre poétique du groupe Gotan Project et de l'œuvre picturale surréaliste du peintre argentin Juan Carlos Liberti compléteront notre corpus à partir des formes contemporaines.Dans le premier volet de l'étude, il s'agira d'analyser la définition institutionnelle du tango à partir de l'étude du discours des historiens cosignataires de la demande d'inscription du tango dans le répertoire des objets culturels faisant partie du patrimoine immatériel universel auprès de l'Unesco. Dans la deuxième partie, nous questionnerons les luttes symboliques au principe des périodisations à l'œuvre dans l'histoire du tango. Un retour sur les premiers tangos recueillis par Lehmann-Nitsche, dont les thématiques sont associées aux maisons closes, qualifiés de " préhistoriques ", et de ce fait marginalisées par la critique, nous permettra de rétablir les origines populaires du tango.

Natural caves represent one of the most difficult environments to map with modern 3D technologies. In this study I tested two relatively new methods for 3D mapping in Tipton-Haynes Cave near Johnson City, Tennessee: Structure from Motion Photogrammetry and Computer Vision using Tango, an RGB-D (Red Green Blue and Depth) technology. Many different aspects of these two methods were analyzed with respect to the needs of average cave explorers. Major considerations were cost, time, accuracy, durability, simplicity, lighting setup, and drift. The 3D maps were compared to a conventional cave map drafted with measurements from a modern digital survey instrument called the DistoX2, a clinometer, and a measuring tape. Both 3D mapping methods worked, but photogrammetry proved to be too time consuming and laborious for capturing more than a few meters of passage. RGB-D was faster, more accurate, and showed promise for the future of low-cost 3D cave mapping.

No description available.

Il ballo sociale di coppia è una forma di svago che è tornata ad essere praticata da giovani e adulti soprattutto dagli anni Novanta. Questa ricerca sociologica ha per oggetto gli eventi di ballo sociale di coppia che hanno luogo attualmente a Milano in spazi pubblici, soprattutto nel centro città, senza autorizzazioni formali e privi di finalità di lucro. L’ipotesi di base è che questi eventi, organizzati da gruppi di ballerini attraverso reti sociali online, siano parte di un fenomeno sociale unico. I tipi di ballo coinvolti sono il tango argentino, la mazurka francese neotrad, lo swing e i balli del sud Italia. Questo lavoro, attraverso l’osservazione partecipante in situazione e interviste in parte semistrutturate e in parte biografiche, mira ad individuare i significati specifici che distinguono tale pratica urbana dal ballo di coppia in luoghi istituzionali e quale sia il ruolo giocato dello spazio pubblico nel differenziare i due oggetti. Nell’analisi delle interviste, l’ambito di significato relativo alla socialità collettiva si è distinto rispetto agli altri per corposità e complessità, è stato perciò scelto come chiave interpretativa del fenomeno. Questa pratica si rivela, infine, una forma di socievolezza e un ambiente sociale in cui esperire un’intimità di gruppo generata da interazioni estemporanee tra conoscenti, e trova negli spazi pubblici della città il suo teatro di espressione privilegiato. / In Western culture, social partner dances have re-emerged as a leisure activity for young and adults since the 90’s. This sociological research concerns social partner dancing events taking place in public spaces in Milan nowadays, especially in the city centre. They are organized through online social networks by groups of dancers who occupy the public space without any formal license and any profit-mindedness; Argentinian tango, French mazurka, swing, and Southern Italian dances are the types of dances involved. The underlying assumption is that these street events are part of a unique social phenomenon. By means of an at home perspective to participant observation, semistructured, and in-depth interviews, this work aims, firstly, to find specific meanings to this practice by comparing it to partner dances performed in institutional places; and secondly, to identify the role of public space in this framework. The collective sociality dimension of meaning has been chosen as a key to interpretation, since it stood out for complexity and relevance. This urban practice turns out to be a kind of simmelian sociability and an environment to experience a group intimacy produced by extemporary interactions of acquaintances; of which urban public spaces, furthermore, prove to be a perfect theatre to its full expression.