A presente dissertação propõe um estudo da visualidade poética nA Cachoeira de Paulo Afonso de Castro Alves (1847-1871), abrangendo definições, aplicações e desdobramentos estéticos da figura da enargeia (evidentia), ou ainda pintura viva, nas descrições da natureza encontradas na obra, particularmente na configuração poética do elemento aquático. NA Cachoeira de Paulo Afonso, a representação poética do meio natural ganha relevo através da vivificação enargética de ênfase sensorial e plástica que, em associação ao estilo sublime, encena liricamente o drama trágico da escravidão. Entendemos que o poema se insere em meio a uma tradição narrativa e iconográfica de representação de ideias nacionais associadas às águas do Rio São Francisco e aos esforços institucionais pela legitimação do poder imperial no Segundo Reinado. Partindo da compreensão da figura da enargeia nos antigos e nos modernos, examinamos três expressões da descrição enargética nA Cachoeira de Paulo Afonso: a ekphrasis, o monólogo e o diálogo. Por meio da teorização do sublime em Kant e Schiller, analisamos as figurações enargéticas dos elementos naturais nA Cachoeira de Paulo Afonso, que cumprem a função de potencializar a capacidade persuasiva do texto poético, além de materializar um posicionamento estético do eu poético acerca do sublime na obra de arte como veículo privilegiado vinculado à liberdade moral do homem. Ao encenar a expressão enargética da violência, a pintura das águas atua de modo a colocar diante dos olhos internos do público oitocentista o drama humano da escravidão. / This dissertation is a study on poetic visuals in A Cachoeira de Paulo Afonso by Castro Alves (1847-1871), through which we approach definitions, applications and aesthetic developments of the visualizing rhetorical techniques of enargeia (evidentia) in the descriptions of nature, mainly in the metaphoric configuration of the water element. In A Cachoeira de Paulo Afonso, the poetic representation of the natural setting stages the tragic drama of slavery with graphic vividness in addition to the sublime. It is our understanding that the poem dialogues with a narrative and iconographic tradition of the representation of national ideas associated with the São Francisco River and with the institutional efforts into asserting the validity of the imperial power. Taking into account the meaning of enargeia in Antiquity and in Romanticism, we examine three forms of enargetic expression: ekphrasis, monologue and dialogue. Through the theories on the sublime by Kant and Schiller, our analysis of the enargetic configurations of the natural setting in the poem A Cachoeira de Paulo Afonso showed that they aim at enhancing the persuasiveness of the poetic text and materialize an aesthetic positioning of the author on the sublime as a means for conveying the moral liberty of men. By staging the enargetic expression of violence, the painting of the waters puts before the inner eyes of the nineteenth-century audience the human drama of slavery.

Visual supports, which provide information presented in a visual format to enhance achievement toward specific goals, can be very helpful for individuals who have autism spectrum disorder (ASD). Music therapists often use visual supports in their practice; however, research exploring how they do so is limited. In the present study, the researcher used a mixed-methods research design to explore music therapists’ use of visual supports for individuals who have ASD. The researcher e-mailed a survey to board-certified music therapists who opted to receive e-mails from the Certification Board for Music Therapists (CBMT), 525 of whom completed the entire survey. Approximately 70% of participants reported using visual supports “always” or “very often.” Participants most frequently reported using pictures with written words and visual schedules. Visual supports are most often used by music therapists in children’s facilities/schools and to address communication skills when working with individuals who have ASD. Participants most frequently reported using visual supports to generally enhance the session/interventions, using them to provide routine, predictability, and clear expectations for individuals who have ASD. Resources and recommendations provided by participants are also summarized. Open-ended responses were coded into themes, and most participants recommended specific software or applications and encouraged others to use certain visual supports, such as visual schedules and “real” pictures. Future researchers should examine the effectiveness of visual supports when used in music therapy sessions for individuals who have ASD.

Multimedia performances, uniting music and interactive images, are a unique form of entertainment that has been explored by artists for centuries. This audio-visual combination has evolved from rudimentary devices generating visuals for single instruments to cutting-edge video image productions for musical groups of all sizes. Throughout this evolution, a common goal has been to create real-time, audio-responsive visuals that accentuate the sound and enhance the performance. This paper explains the creation of a project that produces real-time, audioresponsive and artist interactive visuals to accompany a live musical performance by a symphony orchestra. On April 23, 2006, this project was performed live with the Brazos Valley Symphony Orchestra. The artist, onstage during the performance, controlled the visual presentation through a user interactive, custom computer program. Using the power of current visualization technology, this digital program was written to manipulate and synchronize images to a musical work. This program uses pre-processed video footage chosen to reflect the energy of the music. The integration of the video imagery into the program became a reiterative testing process that allowed for important adjustments throughout the visual creation process. Other artists are encouraged to use this as a guideline for creating their own audio-visual projects exploring the union of visuals and music.

In recent years, there has been a growth of using visuals and vocabulary in mathematics and mathematics classes. The purpose of this Master’s Report is to illuminate research done in the realm of mathematics education related to the increasing use of visuals and visual devices as models for mathematical concepts, as well as visuals for quick reference or “short cuts.” Also discussed is mathematics vocabulary, the words most likely seen on mathematics exams, standardized state tests, and overall, any vocabulary most likely to trigger problem solving strategies and solutions. Trends such as “word walls” and “graphic organizers,” as well as vocabulary strategies aimed at oral, visual, and kinesthetic learners have all emerged in the classroom. Other strategies implemented and researched include student mathematics journals, student created mathematics dictionaries, children’s literature, graphic organizers, and written explanations of open ended word problems. All proved to enhance students’ mathematical vocabulary, increase comprehension and increase ability in communication of mathematical ideas. Furthermore, the use of visual models has emerged in mathematics courses in order to promote more mathematical understanding. “Proofs without words” and patterns and pictures are growing in their use to explain mathematical concepts and ideas. Visual devices that help students arrive at probable answers also have grown in their implementation in the classroom and beyond. Overall, has the increased use of visuals and vocabulary in both mathematics education and mathematics in general improved the mathematical understanding of our society? What research, if any, has been done to document the effects of word walls, graphic organizers, and etcetera? The research will show that, yes, an overwhelming amount of data shows that the implementation of such visual and vocabulary strategies can improve the mathematical understanding of those exposed to the strategies and devices. / text

La presente investigación presenta un estudio descriptivo hecho desde una perspectiva constructivista piagetiana, cuyo objetivo es narrar la psicogénesis de conceptos económicos en escolares chilenos portadores de ceguera congénita.Nos ha interesado describir como construyen los niños y adolescentes ciegos algunos conceptos sociales, específicamente aquellos relacionados con la acuñación, emisión y circulación del dinero, el papel que juegan los bancos en el ciclo económico de un país, las nociones de ganancia, el concepto de interés bancario, la falsificación del mismo, la determinación de los precios y la inflación, entre otros. En resumen, cómo construyen estos niños y adolescentes algunos conceptos económicos. Denegri y sus colaboradores (1998, 2000) demostraron que los niños y adolescentes videntes construyen las nociones económicas en un proceso evolutivo que se da en tres niveles: pensamiento extraeconómico, pensamiento económico subordinado y pensamiento económico inferencial, que implican menor a mayor conocimiento de estos conceptos sucesivamente, pero hasta la fecha de inicio del presente estudio no se habían encontrado en la literatura especializada, investigaciones sobre la misma temática con niños ciegos. La pregunta que ha guiado esta investigación es: ¿Cómo construirán los niños y adolescentes con ceguera congénita sus conceptos sobre economía, debido a su imposibilidad de acceder a las "experiencias visibles" descritas por Delval, Enesco y Navarro (1994) y que son tan importantes para construir la noción de mundo?Para responder a esta pregunta de investigación, el estudio se dividió en dos partes: un estudio de validación de la entrevista piagetiana denominada "Origen y circulación del dinero" diseñada por Denegri, Delval, Ripoll, Palavecinos y Keller (1998) para investigar el desarrollo de conceptos económicos en niños videntes y verificar si ésta podía aplicarse a niños ciegos. Verificada su aplicabilidad y después de hacerle algunos pequeños cambios se procedió a la segunda parte que consistió en la aplicación de la entrevista clínica piagetiana denominada "Origen y circulación del dinero para niños y adolescentes ciegos" (Keller, 2000) con lo que se dio paso a la investigación principal de esta tesis.Ésta se efectuó entrevistando a una muestra de 60 escolares invidentes, balanceada por sexo y tres tramos de edad, que asistían a escuelas especiales para niños con ceguera congénita ubicadas de norte a sur del país. Las entrevistas fueron audio grabadas, luego transcritas a un formato mecanografiado. El contenido de las entrevistas fue sometido a un análisis de contenido simple para establecer categorías. Las categorías establecidas fueron analizadas mediante el uso de tablas de frecuencia para describir las secuencias evolutivas encontradas y el estadístico Gamma para estimar diferencias significativas entre los distintos grupos de edad y de género. Una vez realizado el análisis de categorías se efectuó un segundo tipo de análisis tendiente a determinar la existencia de niveles diferentes y progresivos de cómo niños y adolescentes construyen los conceptos de economía y que agruparan diversas categorías y dieran cuenta de la forma global de comprensión del mundo económico. Se respetaron los cuatro criterios de rigor descritos por Lincoln y Guba (1985). La codificación de las respuestas, su inclusión en categorías y la inclusión de éstas en los niveles de pensamiento económico fueron sometidas a triangulación y pruebas de fiabilidad. Los resultados de la investigación principal indicaron una clara secuencia evolutiva en la conceptualización de conceptos económicos, pese a que los participantes sólo se ubicaron en los primeros dos niveles de pensamiento económico descritos por Denegri, et al. (1998,2000) Los hallazgos e implicaciones se discuten a la luz de investigaciones vinculadas y se entregan algunas orientaciones pedagógicas para enseñar estos conceptos a niños y adolescentes con ceguera congénita. / The present study provides a descriptive account of the psychogenesis of economical concepts in blind born Chilean school children. Denegri et al. (1998, 2000) demonstrated that sighted children constructed their economical notions through a developmental process that comprised the following three levels: extra economic thinking,, subordinate economical thinking, and inferential economical thinking, which imply successive inclusive knowledge from one level to the next. At the initial stages of this research, no studies were found on the development of economical concepts by blind children.Accordingly, the research question posted was: ¿How would congenitally blind children construe their notions about economy, especially considering their impossibility to gain access to "visible experiences", described by Delval, Enesco and Navarro (1994) as so much important for constructing our notions of the world?In order to answer this question, the Interview on the Origin and Circulation of Money for Blind Children (Keller, 2000) was administered to a sample of 60 blind schoolchildren, balanced by gender and age, sampling all the schools for the blind located in Chile, from very North to the far South. The interviews' contents were subjected to a content analysis in order to establish categories. A frequency analysis and Gamma test were also performed. The results indicate a clear evolution in the conceptualization of economic concepts, despite the participants being at only the first two levels of economic thought (Denegri, 1995b). The findings and implications are discussed in light of other research, and some new recommendations for the teaching of economical concepts are offered.

With the unprecedented rise in the use of visuals, and its undeniable omnipresence in organizational contexts, as well as in the individual's everyday life, organization and management science has recently started to pay closer attention to the to date under-theorized "visual mode" of discourse and meaning construction. Building primarily on insights from the phenomenological tradition in organization theory and from social semiotics, this article sets out to consolidate previous scholarly efforts and to sketch a fertile future research agenda. After briefly exploring the workings of visuals, we introduce the methodological and theoretical "roots" of visual studies in a number of disciplines that have a long-standing tradition of incorporating the visual. We then continue by extensively reviewing work in the field of organization and management studies: More specifically, we present five distinct approaches to feature visuals in research designs and to include the visual dimension in scholarly inquiry. Subsequently, we outline, in some detail, promising avenues for future research, and close with a reflection on the impact of visualization on scientific practice itself. (authors' abstract)

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-12-14T10:11:03Z No. of bitstreams: 2 Dissertação - Nicolas Andres Gualtieri - 2017.pdf: 33176554 bytes, checksum: d70b4b52986dd58565bef881bc1cacd4 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-12-14T10:20:28Z (GMT) No. of bitstreams: 2 Dissertação - Nicolas Andres Gualtieri - 2017.pdf: 33176554 bytes, checksum: d70b4b52986dd58565bef881bc1cacd4 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-12-14T10:20:28Z (GMT). No. of bitstreams: 2 Dissertação - Nicolas Andres Gualtieri - 2017.pdf: 33176554 bytes, checksum: d70b4b52986dd58565bef881bc1cacd4 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-12-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The following paper aims the relationship between students, their daily ex-periences at África em Arte-Educação: Construção de Objetos Pedagógicos, a distance learning graduate course and audiovisual didactic artifacts, made by the CIAR-UFG (Centro Integrado de Aprendizagem em Rede). Five stu-dent stories were collected from this course, in order to get a critical evalua-tion and collecting feedbacks that will help improve the student-professor relationship, and especially the creation of audiovisual didactic content for distance learning courses at Universidade Federal de Goiás. / Este projeto visa analisar a relação entre as experiências cotidianas dos alu-nos que participaram do curso de especialização África em Arte-Educação: Construção de Objetos Pedagógicos (modalidade à distância) e os artefatos didáticos audiovisuais, produzidos pelo Centro Integrado de Aprendizagem em Rede, da Universidade Federal de Goiás. Foram recolhidos os relatos e as experiências de cinco alunos que participaram do curso, a fim de fazer uma avaliação e receber sugestões que permitam melhorar os processos de mediação entre aluno-professor e, especialmente, a produção de materiais didáticos audiovisuais para os cursos de modalidade a distância, no contexto da Universidade Federal de Goiás.

A presente dissertação propõe um estudo da visualidade poética nA Cachoeira de Paulo Afonso de Castro Alves (1847-1871), abrangendo definições, aplicações e desdobramentos estéticos da figura da enargeia (evidentia), ou ainda pintura viva, nas descrições da natureza encontradas na obra, particularmente na configuração poética do elemento aquático. NA Cachoeira de Paulo Afonso, a representação poética do meio natural ganha relevo através da vivificação enargética de ênfase sensorial e plástica que, em associação ao estilo sublime, encena liricamente o drama trágico da escravidão. Entendemos que o poema se insere em meio a uma tradição narrativa e iconográfica de representação de ideias nacionais associadas às águas do Rio São Francisco e aos esforços institucionais pela legitimação do poder imperial no Segundo Reinado. Partindo da compreensão da figura da enargeia nos antigos e nos modernos, examinamos três expressões da descrição enargética nA Cachoeira de Paulo Afonso: a ekphrasis, o monólogo e o diálogo. Por meio da teorização do sublime em Kant e Schiller, analisamos as figurações enargéticas dos elementos naturais nA Cachoeira de Paulo Afonso, que cumprem a função de potencializar a capacidade persuasiva do texto poético, além de materializar um posicionamento estético do eu poético acerca do sublime na obra de arte como veículo privilegiado vinculado à liberdade moral do homem. Ao encenar a expressão enargética da violência, a pintura das águas atua de modo a colocar diante dos olhos internos do público oitocentista o drama humano da escravidão. / This dissertation is a study on poetic visuals in A Cachoeira de Paulo Afonso by Castro Alves (1847-1871), through which we approach definitions, applications and aesthetic developments of the visualizing rhetorical techniques of enargeia (evidentia) in the descriptions of nature, mainly in the metaphoric configuration of the water element. In A Cachoeira de Paulo Afonso, the poetic representation of the natural setting stages the tragic drama of slavery with graphic vividness in addition to the sublime. It is our understanding that the poem dialogues with a narrative and iconographic tradition of the representation of national ideas associated with the São Francisco River and with the institutional efforts into asserting the validity of the imperial power. Taking into account the meaning of enargeia in Antiquity and in Romanticism, we examine three forms of enargetic expression: ekphrasis, monologue and dialogue. Through the theories on the sublime by Kant and Schiller, our analysis of the enargetic configurations of the natural setting in the poem A Cachoeira de Paulo Afonso showed that they aim at enhancing the persuasiveness of the poetic text and materialize an aesthetic positioning of the author on the sublime as a means for conveying the moral liberty of men. By staging the enargetic expression of violence, the painting of the waters puts before the inner eyes of the nineteenth-century audience the human drama of slavery.

abstract: In the fast-paced, technology-driven society of today, new demands are placed on artists to re-think how music is presented and communicated to the world. Access to the internet, development of sound manipulation software, and broader means of use and distribution through the digital music industry have drastically shifted the way the twenty-first century artist creates and performs music. One of the most striking changes that occurred is the increased use of visual material as a vehicle to enhance and contribute to the depth and intrigue of live performances and recordings. This project researches twenty-first century works for clarinet and multimedia that specifically include a visual element (including but not limited to images, fixed and interactive video, light effects, and choreography) and highlights the prevalence of this genre in contemporary repertoire. Discussion begins with a brief overview of the history of multimedia, its relation to the clarinet, and how it has been defined by the twenty-first century. Additionally, in order to contribute to this ever-growing repertoire, three new works for clarinet and multimedia were commissioned in collaboration with composers and visual artists. These new works include: Roadrunner (2019) for clarinet and fixed electronics by Spencer Brand with video by Samuel Proctor; I’d known this place (2020) for clarinet and electronics by Dan Caputo with live audio generative animations by Andrew Robinson; and Spectral Passages (2020) for clarinet and electronics by Alvaro Varas with painting by Miguel Godoy. Background information and performance guides are included for each piece to aid future musicians in performance, as well as respective audio/video recordings. Finally, a significant portion of this document includes a catalog of works for clarinet and multimedia. The catalog was compiled by focusing on the output of twenty-first century composers to serve as a resource for future performers. / Dissertation/Thesis / Roadrunner for clarinet and electronics by Spencer Brand / Spectral Passages for clarinet and electronics by Alvaro Varas / I'd known this place for clarinet and electronics by Dan Caputo / Doctoral Dissertation Music 2020

Hållbarhetsfrågor får allt större betydelse i dagens samhälle, vilket även inkluderar företags arbete. Tidigare forskning om hållbarhetskommunikation har däremot mestadels ett konsumentperspektiv. Samtidigt anses hållbarhetsrapportering vara ett tillvägagångssätt för att kommunicera hållbarhetsarbete till fler intressenter. Inom hållbarhetsrapportering sker kommunikationen genom både textuell information och visuella element, såsom diagram, grafer och tabeller, ikoner, fotografier, infografik och layout. Tidigare forskning har framför allt genomförts om textuell information i hållbarhetsrapporteringen, samt separat för respektive visuellt element. En gemensam uppfattning är dock att respektive visuellt element kombinerat med textuell information är att föredra. Med anledning av bristfällig forskning av de visuella elementen i hållbarhetsrapporteringen samt dess betydelse, kommer studien därför undersöka hur och varför dessa används separat och gemensamt. Syftet med studien är därmed att undersöka företags användning av visuella element för att kommunicera hållbarhetsarbete genom hållbarhetsrapportering. I studien redogörs hållbarhetskommunikation, hållbarhetsrapportering och de fem visuella elementen som identifierats. För att besvara studiens syfte genomfördes en fallstudie med fem fallföretag från olika branscher, samt inriktade mot konsument respektive andra företag. Data samlades in genom en dokumentstudie av fallföretagens hållbarhetsrapportering upprättade under år 2020 eller 2020/2021, där de visuella elementen granskades. Dokumenten var ett komplement till studiens fem kvalitativa intervjuer med sex respondenter anställda på fallföretagen, med kunskap om hållbarhetsrapportering. Studiens resultat indikerar några gemensamma orsaker till användningen av visuella element i hållbarhetsrapporteringen såsom att förenkla för läsaren, samt en genomtänkt utformning. Kombinationen mellan visuella element och textuell information påvisas betydelsefull, men enligt studiens resultat bör visuella element ses som ett komplement i kommunikationen genom hållbarhetsrapporteringen. I huvudsak återfinns däremot skilda anledningar till användningen av respektive visuellt element samt helheten, vilket kan bero på olika branschtillhörighet, samt inriktad mot konsument respektive andra företag. / Sustainability issues are becoming more important in today’s society, which also includes companies’ actions. On the other hand, previous research regarding sustainability communication has mainly a consumer perspective. At the same time, sustainability reporting is a way to communicate sustainability activities to more stakeholders. Communication through sustainability reporting can be performed via both textual information and visuals, such as diagrams, graphs and tables, icons, photographs, infographics, and layout. Previous research has mainly been carried out regarding textual information in sustainability reporting, and separately about each visual. However, a common perception is that each visual combined with textual information is preferable. Due to inadequate research of the visuals in sustainability reporting, and its importance, the study will therefore examine how and why these are used separately and combined. The purpose of the study is thereby to examine companies use of visuals to communicate sustainability activities through sustainability reporting. The study presents sustainability communication, sustainability reporting and the five identified visuals. To answer the purpose of the study, a case study was conducted with five case companies from different industries and directed to consumers and other companies. Data were collected through a document study of the case companies’ sustainability reporting created during the year 2020 or 2020/2021, where the visuals were reviewed. The documents were a complement to the study’s five qualitative interviews with six respondents employed at the case companies, with knowledge about sustainability reporting.  The results of the study indicate some common reasons for the use of visuals in sustainability reporting, such as simplifying for the reader and well thought out design. The combination of visuals and textual information is indicated to be important, but according to the results of the study, visuals should be seen as a complement in communication through sustainability reporting. On the other hand, there are mainly different reasons for the use of each visual and itscomposition, which may be due to different industries, and aimed at consumers and other companies.