A presente pesquisa deteve-se na análise da produção de sentido da minissérie Capitu (Globo, 2008) tendo como base o uso da cor e do figurino na caracterização das personagens Bento, Capitu e Escobar. Norteia este trabalho, a concepção de que tanto o uso da cor quanto do figurino mostram-se como elementos fundamentais seja para a estruturação da narrativa, seja para a construção do discurso visual. Por meio do estudo desses elementos procurou-se explorar a construção da narrativa televisual considerando a indissociável relação entre forma e conteúdo (BAKHTIN, 2010) com o objetivo de compreender a construção visual das três personagens acima citadas. Também foi objeto de análise as possíveis correlações entre os figurinos da minissérie e a moda do período em que se ambienta o romance de Machado de Assis, ou seja, meados do século XIX. O trabalho de fundamentação teórica e metodológica embasou-se nos estudos de linguagem de Bakhtin (2002, 2008, 2010) e Bakhtin/Volochinov (2009), de linguagem audiovisual de Aumont (1993), Aumont e Marie (2003) e Brown (2012). Pallottini (2012), Mungioli (2013) fornecem elementos para a contextualização e discussão das minisséries brasileiras. Além disso, abordamos o estudo da teoria das cores com Guimarães (2000), Pedrosa (2010), Bastos, Farina e Perez (2011) e o alicerce de vestuário e figurino com Köhler (2009), Chataignier (2010), Lipovetsky (2009) e Leite e Guerra (2002). Devido à essencial correlação entre forma e conteúdo que orientou a pesquisa e análise, a metodologia aplicada foi desenhada por meio do estudo da linguagem verbo-visual, destacando em sua composição a visualidade das roupas e cores na construção de sentidos. As características das imagens envolvidas nessa pesquisa não podiam ser abordadas pensando no limite da mesma, pois seu experimentalismo tanto na linguagem audiovisual como na construção narrativa da obra, não caberia em padrões fechados de observação e análise. Assim, o estudo buscou explorar a minissérie sem restringi-la a uma análise puramente técnica, realizando um constante diálogo com o sentido produzido pelo trabalho de produção da obra audiovisual. A análise realizada permitiu considerar a cor como elemento diegético constituinte de uma poética televisual e da tessitura composicional das personagens analisadas. Ao longo da minissérie, há alterações importantes na composição visual, as nuances da caracterização dos protagonistas surgem não apenas com uma função plástica visual, mas também com uma função narrativa. / The present study intends the analysis of the production of meaning in miniseries Capitu (Globo, 2008) based on the use of color and costume in the characterization of the main characters Bento, Capitu and Escobar. Guides this work, the idea that both the use of color and the costume are shown key for structuring the narrative, as to build the visual discourse. By studying these elements sought to explore the construction of televisual narrative considering the inseparable relationship between form and content (BAKHTIN, 2010) in order to understand the visual construction of the three characters mentioned above. It has also been analyzed in the possible correlations between the costumes of the miniseries and the fashion of the period in which settles the romance of Machado de Assis, namely in mid-nineteenth century. The work of theoretical and methodological foundation underwrote us to study language by Bakhtin (2002, 2008, 2010) and Bakhtin / Volochinov (2009), audiovisual language Aumont (1993), Aumont and Marie (2003) and Brown (2012). Pallottini (2012), Mungioli (2013) provide input for context and discussion of brazilian miniseries. In addition, we approach the study of color theory with Guimarães (2000), Pedrosa (2010), Bastos, Farina and Perez (2011) and the foundation of clothing and costumes with Kohler (2009), Chataignier (2010), Lipovetsky (2009) and Leite and Guerra (2002). Because of the essential correlation between form and content that guided the research and analysis, the methodology applied was designed by studying the verb-visual language, highlighting in its composition the visuality of clothes and colors to build senses. The characteristics of the images involved in this research can not be addressed thinking on the edge of it, for his experimentation both in audiovisual language and the narrative construction of the work, it would not fit in closed standards of observation and analysis. Thus, the study sought to explore the miniseries without restricting it to a purely technical analysis, conducting a constant dialogue with the meaning produced by the audiovisual production work. The analysis allowed us to consider color as diegetic constituent element of a televisual poetic and compositional fabric of the analyzed characters. Throughout the miniseries, there are important changes in visual composition, the nuances of characterization of the protagonists emerge not only with a plastic visual function but also with a narrative function.

El presente trabajo aborda el rol de agencia del diseñador gráfico a través de tres casos donde se ha trabajado con la comunidad y planteado determinadas metodologías para desarrollar el discurso visual en el objetivo de cada proyecto. Se parte de la hipótesis que el vínculo del diseñador gráfico con su comunidad y la identificación de una metodología con involucramiento social posibilita su impacto como agente de cambio social. La investigación está diseñada a partir de la revisión de fuentes bibliográficas, análisis de las respectivas piezas gráficas y las entrevistas a los/las diseñadores/as que los llevan a cabo. Los principales resultados indican que el trabajo que el diseñador realiza con la comunidad y materializa en su producción visual parte de la aplicación de dinámicas participativas donde se revela una metodología y discurso visual específico. Por tanto, se concluye que el impacto del rol del diseñador/a gráfico/a como agente de cambio en su comunidad tiene distintos alcances de acuerdo a su respuesta frente a un objetivo específico, que se centra en su acción discursiva y visual a un nivel comunicacional, o de un objetivo integral, en el cual la metodología del diseñador intenta sustentabilizar a la comunidad, encaminarla y capacitarla para su autogestión. / This work addresses the agency role of the graphic designer through three cases where the community has worked and proposed certain methodologies to develop the visual discourse in the objective of each project. It is based on the hypothesis that the graphic designer's link with his community and the identification of a methodology with social involvement enables his impact as an agent of social change. The research is designed from the review of bibliographic sources, analysis of the respective graphic pieces and interviews with the designers who carry them out. The main results indicate that the work that the designer carries out with the community and materializes in her visual production starts from the application of participatory dynamics, where a specific visual methodology and discourse is revealed. Therefore, it is concluded that the impact of the role of the graphic designer as an agent of change in their community has different scopes according to their response to a specific objective, which focuses on their discursive and visual action at a level communicational, or an integral objective, in which the designer's methodology tries to sustain the community, direct it and train it for its self-management. / Trabajo de investigación

<p>The goal of this study was to elucidate whether articulations of visual-speech are processed phonologically, and in the same manner as auditory-speech. Phonological processing, measured through the amplitude of the Phonological Mapping Negativity (PMN), was compared across three conditions using the electroencephalogram (EEG). Planned polynomial contrasts compared conditions of related and unrelated linguistic stimuli versus a non-linguistic control stimulus. A significant Site x Condition polynomial trend at posterior sites (Pz and Oz) during the N400 tine window revealed that the unrelated condition was most negative in amplitude, an N400-like deflection in the control condition reached similar negative amplitude, while the related condition was the most positive. A significant quadratic trend of PMN amplitude differentiated between the linguistic conditions and the non-linguistic control at site Fz, but did not differentiate the related and unrelated linguistic conditions from each other. These results support a conclusion that non-lexical speech-like and gurning motions of the lips are treated differently than articulations of a meaningful nature. Moreover, the PMN response patterned similarly in the linguistic conditions, compared to the non-linguistic control, indicating phonological processing. The prediction that PMN amplitude will distinguish visual-speech events congruent or incongruent to a phonologically constrained context was not supported.</p> / Master of Science (MSc)

Le présent travail de thèse s’inscrit dans le domaine de recherche sur la perception audio-visuelle (AV) de la parole. Son objectif est de répondre aux questions suivantes : (i) Quelle est la nature du traitement de l’input visuel (holistique vs analytique) dans la perception AV de la parole ? (ii) Quelle est l’implication des régions faciales extra-buccales dans la perception AV de la parole ? (iii) Quel est le comportement oculaire des sujets lors de la perception AV de la parole ? (iv) Quelle est l’évolution de la perception AV de la parole dans les aspects (i), (ii) et (iii) au cours du développement. Le paradigme de dégradation de l’information auditive par le bruit a été utilisé dans deux expériences qui ont été menées avec des participants de quatre groupes d’âge, enfants, préadolescents, adolescents, adultes (16 participants par groupe). La tâche des participants consistait à répéter les syllabes de type consonne-voyelle /a/, faiblement et fortement dégradées par le bruit rose, présentées dans quatre conditions différentes. Ces conditions étaient les suivantes : une auditive (AU) et trois audio-visuelles (AV) (AV visage (AVV)), AV « bouche extraction » (AVB-E) (format bouche sans contrastes lumineux), AV « bouche-masquage » (AVB-M) (format bouche avec contrastes lumineux) pour l’expérience 1, et AVV, AV « bouche active » (AVV-BA) (format « visage » avec un contexte facial statique), AV « régions extra-buccales actives » (AVV-EBA) (format « visage » sans bouche) pour l’expérience 2. Le nombre total des répétitions correctes par condition (performance totale), la différence dans ce score entre chaque condition AV et la condition auditive (gain AV) et la durée totale des fixations oculaires dans la région buccale et les autres régions faciales (pour les formats AVV) ont été analysés. Les principaux résultats montrent que les mécanismes de traitement AV de la parole atteignent leur maturité avant l’enfance tardive. La vision du visage entier de l’orateur n’est pas avantageuse pour ce type de traitement. Elle semble même désavantageuse pour les adultes possiblement car elle déclenche le traitement d’autres aspects du visage (identité, expressions faciales) qui pourrait interférer avec le traitement des indices acoustiques relatifs à la parole. Pour les quatre groupes d’âge, la contribution des mouvements articulatoires dans les régions extra-buccales à la perception AV de la parole s’est avérée faible et limitée aux conditions de haute incertitude quant à l’information auditive. Pour les stimuli respectant les caractéristiques écologiques de l’information faciale, les patterns du comportement oculaire dans la perception bimodale de la parole varient en fonction du degré de dégradation de l’information auditive, mais semblent relativement stables durant la période allant de l’enfance à l’âge adulte. Finalement, les modalités de présentation de l’information visuelle localisée à la bouche ont affecté le comportement oculaire chez les adultes, les pré-adolescents et les enfants. Ceci suggère que le traitement visuo-attentionnel dans le cadre de la perception AV de la parle est sensible aux caractéristiques de bas niveau des stimuli visuels chez ces populations. Les variations au niveau du traitement visuo-attentionnel s’accompagnent, dans une certaine mesure, de variations dans la perception AV de la parole. / The present thesis work fits into the domain/is incorporated within the framework of research on audio-visual (AV) speech perception. Its objective is to answer the following questions: (i) What is the nature of visual input processing (holistic vs analytic) in AV speech perception? (ii) What is the implication of extra-oral facial movement in AV speech perception? (iii) What are the oculomotor patterns in AV speech perception? (iv) What are the developmental changes in the above-mentioned aspects (i), (ii) and (iii)? The classic noise degradation paradigm was applied in two experiments conducted in the framework of the present thesis. Each experiment were conducted on participants of 4 age groups, adults, adolescents, pre-adolescents and children. Each group consisted of 16 participants. Participants’ task was to repeat consonant-vowel (/a/) syllables. The syllables were both mildly and strongly degraded by pink noise and were presented in four audio(-visual) conditions, one purely auditory (AO) and three audio-visual conditions. The AV conditions were the following: (i) AV face (AVF), (ii) AV « mouth extraction » (AVM-E ; mouth format without visual contrasts), (iii) AV « mouth window » (AVM-W ; mouth format with high visual contrasts) in experiment 1, and (i) AVF, (ii) AVF « mouth active (and facial frame static) » (AVF-MA), (iii) AVF « extra-oral regions active (and mouth absent) » (AVF-EOA) in experiment 2. The data relative to (i) the total number of correct repetitions (total performance), (ii) the difference in the correct repetitions score between each AV and the AO condition (AV gain), and (iii) the total fixations duration in the oral area and other facial areas (for the AV formats) were analyzed. The main results showed that the mechanisms involved in AV speech perception reach their maturity before late childhood. The vision of the talker’s full face does not seem to be advantageous in this context. It seems that the vision of the talker’s full face might perturb AV speech processing in adults, possibly because it triggers processing of other types of information (identity, facial expressions) which could in terms interfere with the processing of acoustic aspects of speech. The contribution of the extra-oral articulatory movement to AV speech perception was poor and limited to the condition of highly degraded auditory information. For ecologically presented facial information, the oculomotor patterns in AV speech perception varied as a function of the level of auditory information degradation, but appeared rather stable across the 4 groups. Finally, the modalities of the featural (mouth) facial information presentation affected the oculomotor behavior patterns in adults, pre-adolescents and children, thus suggesting a certain sensitivity of visuo-attentional processing to low-level visual stimuli characteristics in AV speech perception. The variations in visuo-attentional processing seemed to be associated to a certain extent with variations in AV speech perception.