A utilização de compostos químicos no controle de pragas que afetam negativamente a produção agrícola tem sido objeto de muitas críticas por parte de ambientalistas e pesquisadores devido aos problemas ambientais proporcionados por tais substâncias. Nos últimos anos tem-se dedicado bastante tempo e recursos em pesquisas que levem à descoberta de produtos para controle de pragas que tragam nenhum ou o menor prejuízo possível ao ambiente. Neste sentido, o estudo da alelopatia busca a utilização de compostos oriundos da própria natureza para uso no combate a espécies invasoras em plantações, na esperança de ter-se um controle prático e efetivo sobre plantas daninhas minimizando-se a contaminação ambiental. Neste trabalho foram utilizaram-se extratos aquosos de sementes e folhas da leguminosa feijão-de-porco (Canavalia ensiformis) como um bioerbicida pós-emergente aplicado no controle das plantas daninhas trapoeraba (Commelina benghalensis) e corda-de-viola (Ipomoea grandifolia), e foi avaliada também a seletividade dos extratos com relação a cultivares de soja (Glycine max) convencional e transgênica. Foram preparados tratamentos em seis diferentes concentrações e aplicados em três diferentes períodos, sendo avaliados seus efeitos de toxicidade e seletividade sobre o desenvolvimento das plantas daninhas e da soja. Os resultados foram submetidos à análise de variância e aplicou-se o teste F a 1% de probabilidade, mostrando que os tratamentos mais eficazes no controle das invasoras foram aqueles preparados a partir das sementes de feijão-de-porco nas concentrações 25 e 50 g L-1, que interromperam completamente o desenvolvimento as plantas daninhas, sem causar, no entanto qualquer efeito aparente sobre a soja, tanto transgênica quanto convencional. Foram realizadas também determinações cromatográficas para identificação de compostos fenólicos em amostras de folhas de feijão-de-porco. Mediante a comparação com compostos padrão e variação de comprimento de onda na região do ultravioleta-visível foi possível identificar os compostos ácido clorogênico, ácido p-anísico, naringina e rutina, cujas concentrações encontradas, relativas às amostras, foram de 4,42 mg L-1, 6,0 mg L-1, 3,75 mg L-1 e 5,0 mg L-1 respectivamente. / The use of chemicals to control pests that adversely affect agricultural production has been treated with great concern due environmental issues provided by such substances. In the last years much time and money were devoted in researchs leading to discovery products to control pests that bring no or the least damage to the environmet. In this sense, the use of allelopathic species for controlling invasive species is an environmental friendly technique. In this work aqueous extracts of seeds and leaves of Jack bean (Canavalia ensiformis) were used as a post-emergent bioherbicide succesfully applied for control of dayflower (Commelina benghalensis) and morningglory (Ipomoea grandifolia), and selectivity on conventional and transgenic soybean (Glycine max) cultivars. Treatments were prepared in six different concentrations and applied in three different periods, being analyzed the effects of toxicity and selectivity on the development of weeds and soybean. The results were subjected to analysis of variance and applied the F test at 1% probability, showing that the most effective treatments in controlling the weeds were those prepared from seeds of Jack bean at concentrations of 25 and 50 g L-1, that totally controlled weeds, however causing no apparent injury on soybeans, both transgenic and conventional. Chromatographic analysis were also performed for identification of phenolic compounds in samples of Jack bean leaves. By comparison with standards and changes in wavelength on ultraviolet-visible spectra was possible to identify clorogenic acid, p-anisic acid, naringin and rutin compounds at concentrations of 4.42 mg L-1, 6.0 mg L-1, 3.75 mg L-1 and 5.0 mg L-1 respectively.

Quartet -- Bagatelle-Kyrie eleison -- Déploration. / Wu Ming-yiu. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2002. / Abstracts in English and Chinese. / Abstract --- p.i / Table of Contents --- p.ii / Acknowledgements --- p.iii / Compositions / Chapter 1. --- Quartet --- p.1 / Chapter 2. --- Bagatelle - Kyrie eleison --- p.34 / Chapter 3. --- Deploration --- p.47

Made available in DSpace on 2016-04-27T19:31:40Z (GMT). No. of bitstreams: 1 Sergio Estephan.pdf: 1215415 bytes, checksum: f61c9e77e2ecd69ada4230caf1026243 (MD5) Previous issue date: 2007-12-03 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This research work has, as main target, to analyse the violinistic work from the native of the city of São Paulo, Americo Jacomino, the Canhoto (the Left-handed), (1889-1928). For that we ll first reflect about the theoretic-methodological aspects that served as reference for this research work, where History and Music dialogue frequently. Then, we ll stand out its professional route, when he started his career in circus, theathers anda movie-theathers until he gets into the mainly concert rooms in São Paulo: The Teatro Municipal and the Conservatório Dramático e Musical . After that, we ll analyse his musical production from this phonographic file and scores, looking for a reflect, about his compositional universe. Finally, as reference, the Argentinean Tangos composed and intepreted by Canhoto we ll make an investigation about the guitar in the South American continent, from the approach of Canhoto and Carlos Gordel, as well between the Brazilian and the Argetinean Tango, to finish, talking about the Paraguayan Agustin Barrios, one of the most important violinist from the beginning of the Twentieth Century / Este trabalho de pesquisa tem como objetivo central, analisar a obra violonística do paulistano Américo Jacomino, o Canhoto (1889-1928). Para tanto, refletiremos inicialmente sobre os aspetos teórico-metodológicos que serviram de referência para este trabalho de pesquisa, onde História e Música dialogam com freqüência Em seguida, destacaremos sua trajetória profissional, quando iniciou sua carreira tocando em circos, teatros e cinemas, até adentrar às principais salas de concerto de São Paulo: o Teatro Municipal e o Conservatório Dramático e Musical. Posteriormente, analisaremos sua produção musical, a partir de seus registros fonográficos e partituras, buscando um refletir sobre seu universo composicional. Por fim, tendo como referência os tangos argentinos compostos e interpretados por Canhoto, faremos uma investigação sobre o violão no continente sul-americano, a partir da aproximação das carreiras de Canhoto e Carlos Gardel, assim como entre o tango brasileiro e o argentino, para encerrarmos, com uma abordagem sobre este que foi um dos mais importantes violonistas deste início de século XX, o paraguaio Agustin Barrios

This thesis proposes a new concept of form for Boris Blacher's Divertimento for Woodwinds, Duet for Flute and Piano, and Quintet for Flute, Oboe, Violin, Viola, and Violoncello. In 1950, Blacher began to use systematically varying metric units to provide logic to the apparently arbitrary rhythm of modern music. This practice led the few scholars who have studied his compositions to concentrate on the mathematical organization of metrical units, underestimating other musical elements. This dissertation is based on the idea that it is not the mere disposition of meters, but mostly the interaction between them and other musical elements that makes the peculiar durational scheme audible, thus perceptually relevant. Following this, the technique of expansion and contraction that becomes evident in the organization of the meters is also present in the disposition of durations at other hierarchical levels and in the pitch structure. Furthermore, the mathematical metrical scheme is the foundation for a deeper universe of systematic organization. Blacher's techniques provide a unique sense of movement to his compositions, the aural effect of an "elastically developing music." In Duet and Quintet, this idea is also applied in simultaneity to the registral disposition of pitches and textural development, suggesting vertical elasticity. As a result, Blacher's late compositions suggest a replacement of the traditional concepts of form and texture with a new idea of constantly moving, elastic shape. The methodological approach of this thesis is exclusively analytical and technical, with emphasis on durational and pitch organization, form, texture, and the interaction among these aspects. The individual and comparative analysis of the three compositions reveals a consistent conception of the musical space that emphasizes its bi-dimensional quality. In the Divertimento, the unitary conception of the vertical and horizontal construction is mainly reflected in the bi-dimensional treatment of interval classes that provides coherence to the motivic structure. In Duet and Quintet, this mere idea of consistent organization of the musical materials in the horizontal and vertical dimensions of the total space becomes a unique principle of formal definition, the elastic development of the musical content itself.

This dissertation is a comparative study of the concept of the figural in relation to moving images with three case studies on filmmaker and writer Jean Epstein (1897-1953), video artist Bill Viola (1951-) and the cd-rom art magazine Artintact 1-5 (1994-1999). The conceptually focused case studies also enable a comparison between the different media technologies of film, video and new digital media. The figural is a concept originally used by Jean-François Lyotard and has resurfaced in the works of Jacques Aumont, Philippe Dubois, Nicole Brenez and D. N. Rodowick. Building on ideas expressed by these writers I show how the figural is a concept describing a border zone between abstraction and representation, where focus is on the image as event and process, and various effects due to image manipulation. I argue that a figural approach enables a more nuanced understanding of visual materiality as well as of new relationships between image and text. I also show how the figural can be understood as part of a ”new aestheticism”, where the relationship between viewer and image is emphasised. On a conceptual level the figural is put in relation to the concept of a ”haptic visuality” and the so-called ”post-medium condition”. In the reading of Jean Epstein the figural is used to foreground aspects of ”thinking with images”, and of a ”temporal perspective” as a new visual matter. In the case of Bill Viola the figural is to be found for example in his frequent use of slow motion as an embodied visuality. In the case of Artintact the figural is used to show how digital media is not as immaterial as often claimed, on the contrary the digital brings a new importance for visual materiality. Taken together these aspects introduce the figural as an important element for our understanding of visual culture.

Driving while drowsy is a major cause behind road accidents, and exposes the driver to a much higher crash risk compared to driving while alert. Therefore, the use of assistive systems that monitor a driver’s level of vigilance and alert the fatigue driver can be significant in the prevention of accidents. This thesis introduces three different methods towards the detection of drivers’ drowsiness based on yawning measurement. All three approaches involve several steps, including the real time detection of the driver’s face, mouth and yawning. The last approach, which is the most accurate, is based on the Viola-Jones theory for face and mouth detection and the back projection theory for measuring both the rate and the amount of changes in the mouth for yawning detection. Test results demonstrate that the proposed system can efficiently measure the aforementioned parameters and detect the yawning state as a sign of a driver’s drowsiness.

Detta arbete syftar till att fördjupa kunskapen om hur violin- och violalärare kan arbeta för att ge sina elever som utövar klassik musik möjlighet att minimera stress och nervositet i samband med provspelning och konserttillfälle. I bakgrundskapitlet presenteras orsaker till samt förebyggande åtgärder för att hantera stress. Dessutom redogörs för musikdidaktiska perspektiv på instrumentalundervisning. Studien har genomförts med kvalitativ intervju som metod. Fyra lärare och musiker har intervjuats. Resultatet i studien styrker tidigare forskning då flera teman är likartade. Dock framkommer nya infallsvinklar på orsaker till stress i resultatet. En av de mer avgörande anledningarna till studenters ökade stressfaktor tydliggörs som avsaknad av mental och praktisk förberedelse. Elevens brist på att se inlärning i en långsiktig process med en utvecklingskurva som inte alltid går parallellt med förväntningarna är en annan orsak som enligt resultatet kan leda till ökad stress. I den förebyggande stresshanteringen betonas vikten av den praktiska förberedelsen som innefattande tekniskt hantverk, övningsmetodik samt att öva på konsertvana inom ramen för gemensam lektion. Vikten av att vara mentalt förberedd för situationen understryks ha betydelse i den förebyggande stresshanteringen. / The purpose of this study is to develop an understanding in how violin teachers can work to provide their students the opportunity to minimize stress and anxiety related to auditions and concerts. In the previous research presented in the background, clear causes and preventive measures to deal with and prevent stress are described. The quantitative interview was the method of the study. Four musicians and teachers were interviewed. The previous research is confirmed by the result that is described in themes by the informants. However, new perspectives on the causes of stress are outlined in the result. One of the more important reasons for an increased stress factor in students is clarified as the absence of mental and practical preparation. A lack in regarding learning as a long term process on behalf of the students, which does not always run parallel with expectations, may lead to increased stress. The importance of the practical preparation includes technical craftsmanship, practice methods, and to practice the concert experience. The importance of being mentally prepared for the situation is a preventive action against stress. The mental preparation before the concert situation, can include relatively simple things like knowing how the room looks like, and that the student has created an image of the audience. Practice in entering the stage, in addition to a presentation approach, are also important factors in reducing stress.

This master thesis deals with real-time algorithms and techniques for face detection and facetracking in videos. A new approach is presented where optical flow information is incorporatedinto the Viola-Jones face detection algorithm, allowing the algorithm to update the expectedposition of detected faces in the next frame. This continuity between video frames is not exploitedby the original algorithm from Viola and Jones, in which face detection is static asinformation from previous frames is not considered.In contrast to the Viola-Jones face detector and also to the Kanade-Lucas-Tomasi tracker, theproposed face tracker preserves information about near-positives.In general terms the developed algorithm builds a likelihood map from results of the Viola-Jones algorithm, then computes the optical flow between two consecutive frames and finallyinterpolates the likelihood map in the next frame by the computed flow map. Faces get extractedfrom the likelihood map using image segmentation techniques. Compared to the Viola-Jonesalgorithm an increase in stability as well as an improvement of the detection rate is achieved.Firstly, the real-time face detection algorithm from Viola and Jones is discussed. Secondly theauthor presents methods which are suitable for tracking faces. The theoretical overview leadsto the description of the proposed face tracking algorithm. Both principle and implementationare discussed in detail. The software is written in C++ using the Open Computer Vision Libraryas well as the Matlab MEX interface.The resulting face tracker was tested on the Boston Head Tracking Database for which groundtruth information is available. The proposed face tracking algorithm outperforms the Viola-Jones face detector in terms of average detection rate and temporal consistency.

Esta pesquisa tem por objetivo refletir sobre os processos cognitivos que envolvem a construção da improvisação teatral a partir do trabalho do ator, com base na teoria de Piaget e nos trabalhos de Viola Spolin. Como forma de compreender os processos cognitivos na construção da improvisação teatral, essa foi estudada a partir dos conceitos de egocentrismo e descentração propostos por Piaget. Através desses conceitos é possível traçar uma trajetória da construção da improvisação a partir do trabalho do ator. Esse estudo também se propõe a entender como ocorre a improvisação no que se refere às relações entre os atores e como esses constróem o jogo com os demais colegas. Para esta pesquisa, foi realizada uma oficina teatral como meio de recolher e registrar os dados necessários para as análises. Além da oficina teatral, foram feitas entrevistas semi-estruturadas e coletados dados através de cadernos de notas dos atores, o que possibilitou uma avaliação a partir da perspectiva, não só da pesquisadora, mas dos sujeitos envolvidos. As análises foram feitas a partir do trabalho empírico com base no quadro teórico escolhido. Dessa forma, foi possível identificar o percurso de construção do conhecimento em improvisação teatral, que se inicia com o jogo egocêntrico e evolui para o jogo cada vez mais descentrado e cooperativo.

This thesis includes information about Béla Bartók's Concerto for Viola and Orchestra and composer's curriculum vitae.