A multimodal and adaptive real-time human -computer interface for peoples with severe motor disability

This dissertation introduces the design of a multimodal, adaptive real-time assistive system as an alternate human computer interface that can be used by individuals with severe motor disabilities. The proposed design is based on the integration of a remote eye-gaze tracking system, voice recognition software, and a virtual keyboard. The methodology relies on a user profile that customizes eye gaze tracking using neural networks. The user profiling feature facilitates the notion of universal access to computing resources for a wide range of applications such as web browsing, email, word processing and editing. ^ The study is significant in terms of the integration of key algorithms to yield an adaptable and multimodal interface. The contributions of this dissertation stem from the following accomplishments: (a) establishment of the data transport mechanism between the eye-gaze system and the host computer yielding to a significantly low failure rate of 0.9%; (b) accurate translation of eye data into cursor movement through congregate steps which conclude with calibrated cursor coordinates using an improved conversion function; resulting in an average reduction of 70% of the disparity between the point of gaze and the actual position of the mouse cursor, compared with initial findings; (c) use of both a moving average and a trained neural network in order to minimize the jitter of the mouse cursor, which yield an average jittering reduction of 35%; (d) introduction of a new mathematical methodology to measure the degree of jittering of the mouse trajectory; (e) embedding an onscreen keyboard to facilitate text entry, and a graphical interface that is used to generate user profiles for system adaptability. ^ The adaptability nature of the interface is achieved through the establishment of user profiles, which may contain the jittering and voice characteristics of a particular user as well as a customized list of the most commonly used words ordered according to the user's preferences: in alphabetical or statistical order. This allows the system to successfully provide the capability of interacting with a computer. Every time any of the sub-system is retrained, the accuracy of the interface response improves even more. ^

Fazer, dançar, de dentro : a fusão entre os processos do fazer e do sentir na prática diária da Técnica de Dança Clássica

Relatório Final de Estágio apresentado à Escola Superior de Dança com vista à obtenção do Grau de Mestre em Ensino de Dança.

As ferramentas do corpo numa performance inclusiva: relatório de estágio

Relatório de Estágio submetido à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Artes Performativas – especialização em Teatro-­‐Música.

Canada/U.S. border crossing: facilitation and constraint

Abstract The aim of this research project is to draw on accounts of experiences ofborder crossing and regulation at the Canada/U.S. border at Niagara in order to illuminate the dynamics of differentiation and inequality at this site. The research is informed by claims that the world is turning into a global village due to transnational flows oftechnology, infonnation, capital and people. Much of the available literature on globalization shows that while the transfer of technology, information, and capital are enhanced, the transnational movement of people is both facilitated and constrained in complex and unequal ways. In this project, the workings of facilitation and constraint were explored through an analysis often interviews with people who had spent a substantial portion oftheir childhood (e.g. 5 years) in a Canadian border community. The interviewees were at the time ofthe research between the ages of 19 and 25. Because most ofthe respondents were 'white' Canadians of working to upper middle class status, my focus was to explore how 'whiteness' as privilege may translate into enhanced movement across borders and how 'white' people may internalize and enjoy this privilege but may often deny its reality. I was also interested in how inequality is perceived, understood, and legitimated by these relatively privileged people. My analysis ofthe ten accounts ofborder crossing and regulation suggests that differentially situated people experience border crossing differently. An important finding is that while relatively privileged border crossers perceived and often problernatized differential treatment based on external factors such as physical appearance, and especially race, most did not challenge such treatment but rather saw it as acceptable. These findings are located within newer literature that addresses the increasing securitization ofborders and migration in western societies.

O discurso religioso no processo migratório para o caldeirão do beato José Lourenço

The Caldeirão is a site located in the city of Crato, in the south of Ceará, belonged to priest Cícero Romão Batista. There, was created a religious community led by blessed José Lourenço, who marked the life of thousands of Northeast country people in 1930s, for represent to them a space of religious conviviality, work and devotion. The Caldeirão s population was about three thousand of people, originated from states of Pernambuco, Alagoas, Paraíba, Maranhão, Piauí, Ceará and Rio Grande do Norte, who share the community s daily activities. The misery caused by the dryness and exploration of these country people by the landlords are indicated as the motivator elements of this migratory flux by the greater number of works published about the Caldeirão, turning the community into a primitive experience of class struggles. This present study proposes other comprehension of this migratory movement by the religious speech of salvation taken to country people by the counselor Severino Tavares. Was used as analysis camp the remaining norte-rio-grandenses that migrated to the Caldeirão, and as theoretical and methodological references the understanding model of investigation, the cultural history and the remaining memorial speech analysis. The work follows that pointing the phenomenon of Caldeirão as an campestral revolt is try to impose to this people the aspirations or wishes of others, besides of deny to them the right and the dignity of act by their believes and their own dreams.

Mapping Dynamics into Graphs. The Visibility Algorithm

Si no tenemos en cuenta posibles procesos subyacentes con significado físico, químico, económico, etc., podemos considerar una serie temporal como un mero conjunto ordenado de valores y jugar con él algún inocente juego matemático como transformar dicho conjunto en otro objeto con la ayuda de una operación matemática para ver qué sucede: qué propiedades del conjunto original se conservan, cuáles se transforman y cómo, qué podemos decir de alguna de las dos representaciones matemáticas del objeto con sólo atender a la otra... Este ejercicio sería de cierto interés matemático por sí solo. Ocurre, además, que las series temporales son un método universal de extraer información de sistemas dinámicos en cualquier campo de la ciencia. Esto hace ganar un inesperado interés práctico al juego matemático anteriormente descrito, ya que abre la posibilidad de analizar las series temporales (vistas ahora como evolución temporal de procesos dinámicos) desde una nueva perspectiva. Hemos para esto de asumir la hipótesis de que la información codificada en la serie original se conserva de algún modo en la transformación (al menos una parte de ella). El interés resulta completo cuando la nueva representación del objeto pertencece a un campo de la matemáticas relativamente maduro, en el cual la información codificada en dicha representación puede ser descodificada y procesada de manera efectiva. ABSTRACT Disregarding any underlying process (and therefore any physical, chemical, economical or whichever meaning of its mere numeric values), we can consider a time series just as an ordered set of values and play the naive mathematical game of turning this set into a different mathematical object with the aids of an abstract mapping, and see what happens: which properties of the original set are conserved, which are transformed and how, what can we say about one of the mathematical representations just by looking at the other... This exercise is of mathematical interest by itself. In addition, it turns out that time series or signals is a universal method of extracting information from dynamical systems in any field of science. Therefore, the preceding mathematical game gains some unexpected practical interest as it opens the possibility of analyzing a time series (i.e. the outcome of a dynamical process) from an alternative angle. Of course, the information stored in the original time series should be somehow conserved in the mapping. The motivation is completed when the new representation belongs to a relatively mature mathematical field, where information encoded in such a representation can be effectively disentangled and processed. This is, in a nutshell, a first motivation to map time series into networks.

La representación de la arquitectura moderna : la villa Stein-de Monzie en "L'Oeuvre Complète" de Le Corbusier y Pierre Jeanneret : influencia de la visión cinematográfica

Esta tesis doctoral trata de investigar cuánto hubo de presencia del cine en el pensamiento de Le Corbusier y Pierre Jeanneret, a la hora de acometer la publicación y maquetación de las páginas dedicadas a la Villa Stein-de Monzie en Garches, en “Le Corbusier et Pierre Jeanneret. Oeuvre Complète 1910-1929”. Qué mecanismos cinematográficos pusieron en juego, cuando montaban las páginas de L´Oeuvre Complète. Más que encontrar elementos cinematográficos utilizados de manera directa; el objetivo de esta tesis es profundizar en los mecanismos, procedimientos, sistemas de generación de ideas a lo largo del proceso de proyecto; en las maneras de percibir y experimentar los espacios, o de observar las formas. El armazón lo compone por lo tanto el análisis del modo en que Le Corbusier representa la villa en L´Oeuvre Complète, sus intenciones y la función pedagógica de este modo de representar; así como sus diferencias con respecto a lo realmente construido. Una realidad elaborada sobre un tablero; maquetando su representación, eligiendo los fragmentos, y componiendo las láminas (cercana a la de un director de cine). La justificación del objeto a estudiar se plantea en el primer capítulo: L´Oeuvre Complète (1937), la reedición en francés, alemán e inglés de la primera edición en alemán, Ihr Gesamtes Werk (1929).Se establecen las intenciones de Le Corbusier de que se convierta en un modelo de Tratado de Arquitectura Moderna, eminentemente visual. Se estudian los mecanismos formales y geométricos de composición del libro, y el modo en el que L´Oeuvre Complète debe ser leída. El desarrollo de los siguientes capítulos (del 2 al 9) recoge el método principal de investigación de esta tesis, basado en una lectura longitudinal, crítica y sistemática, a partir de la observación atenta de la representación de la villa Stein-de Monzie en Garches, en las páginas nº 140 a 149 de L´Oeuvre Complète. Se efectúa mediante un desarrollo lineal y secuenciado, como si de un guión cinematográfico se tratara. Cada capítulo describe y analiza cada uno de los diferentes fragmentos, permitiendo al mismo tiempo enlazar temas de interés que ayudan a comprender aspectos de la villa de Garches, de su concepción en la intensa labor de proyecto (con numerosas variantes y propuestas), e incluso de su aparición en el cine. Además, la tesis arroja luz sobre unos documentos bastante desconocidos: las láminas de la colección del Museo Cooper-Hewitt de nueva York, para la villa de Garches. El análisis de la presentación de la villa de Garches en L´Oeuvre Complète, constata que para Le Corbusier, el fragmento, per se, ha de ser perfecto, produciendo la máxima emoción. Como un prestidigitador, Le Corbusier los manipula, o le niega información al espectador mediante el uso de la elipsis en el relato. Los textos concatenan las imágenes, soportan el hilo de la narración. Los bocetos quieren siempre seducir al espectador: son dibujos que rezuman vitalidad, con una técnica muy cercana a la ligne claire del cómic. Las plantas son un laboratorio para demostrar su jerarquía y su libertad de composición; eliminando elementos, distorsionando la valoración de líneas y apareciendo algún elemento no ejecutado. Los alzados, esquemáticos y abstractos, demuestran el control de la geometría para garantizar la emoción. Las fotografías son controladas en su fase de captura (elección del punto de vista, cuidada puesta en escena de los objetos, composición con la luz, uso de las sombras para la aparición del fuera de campo); pero también en la fase de postproducción y edición, donde son cortadas, alisadas superficies, borrando o dibujando elementos sobre ellas. El montaje compone asimismo una representación dinámica, fragmentada y múltiple de la villa. Como sucede en el cine, los fragmentos sólo encuentran su razón de ser una vez son re-creados y montados en la cabeza del espectador. La falta de raccord es un mecanismo buscado por Le Corbusier, trasladando a la representación una de las primordiales características de la villa de Garches: su permanente dualidad simultánea. Todos estos mecanismos son desplegados por Le Corbusier, para ofrecer una versión idealizada de la villa, que recoja todas las virtudes de los distintos proyectos e incorpore el factor tiempo. ABSTRACT This doctoral thesis tries to investigate how much the cinema affected Le Corbusier and Pierre Jeanneret´s thoughts, at the moment of undertaking the publication and layout of the pages dedicated to the villa Stein-de Monzie in Garches, in the book “Le Corbusier et Pierre Jeanneret. Oeuvre Complète 1910-1929”. Which cinematographic mechanisms they brought into play, when they were mounting those pages. Instead of finding cinematographic elements, used directly; the aim of this thesis is to go deeply into the mechanisms, methods, systems of generation of ideas along the project process; into the ways of seeing and feeling the spaces, or of watching the forms. The body is composed therefore by the analysis of the way in which Le Corbusier represents the villa in L'Oeuvre Complète, his intentions and the pedagogic function of that way of representation; as well as its differences with the real built villa. One reality elaborated on a board; laying out its representation, choosing the fragments, and composing the sheets (near to the work of a director of cinema). The justification of the object to studying appears in the first chapter: L'Oeuvre Complète (1937), the reissue in French, German and English of the first edition in German, Ihr Gesamtes Werk (1929). This chapter shows the intentions of Le Corbusier of turning the book into a model of modern architecture, highly visual. The formal and geometric mechanisms of composition of the book are studied, and the way in which L'Oeuvre Complète must be read. The development of the following chapters (from 2 to 9) gathers the principal method of investigation of this thesis, based on a longitudinal, critical and systematic reading; from the watching of the representation of the villa Stein-de Monzie in Garches, in the pages nr. 140 to 149 of L'Oeuvre Complète. It is carried out by a linear and sequenced development, as a cinematographic script. Every chapter describes and analyzes each of the different fragments, allowing at the same time to connect interesting issues that help to understand aspects of the villa in Garches, of its conception in the intense project process (with numerous variants and designs), and even of its appearance in films. Also, the thesis throws light on some unknown documents: the sheets of the collection of the Museum Cooper-Hewitt in New York, for the villa in Garches. The analysis of the presentation of the villa in Garches in L'Oeuvre Complète, proves that for Le Corbusier, the fragment, itself, has to be perfect, getting the maximum emotion. As a prestidigitator, Le Corbusier manipulates them, or denies information to the spectator by means of the use of the ellipsis in the story. The texts concatenate the images, support the thread of the story. The sketches always attempt to seduce the spectator: they are drawings that leak vitality, with lines very near to the ligne claire of the cómic. The plans are a laboratory to demonstrate their hierarchy and their freedom of composition; deleting elements, distorting the thickness of lines and showing some not executed elements. The elevations, schematic and abstract, shows the control of the geometry to guarantee the emotion in architecture. The pictures are controlled in their instant of capture (choice of the point of view, elegant mise-en-scène of the objects, composition with light, use of the shadows for the appearance of out of vision); but also in the postproduction and edition time, when surfaces are cut, smoothing, erasing or drawing elements in them. The montage composes in the same way a dynamic, fragmented and multiple representation of the villa. As in the films, the fragments only find their raison d'être once they have been re-created and mounted into the mind of the viewer. The continuity error is a mechanism allowed by Le Corbusier, transfering to the representation in the book one of the basic characteristics of the villa in Garches: its constant simultaneous duality. All these methods are displayed by Le Corbusier, to offer an idealized version of the villa, which gathers all the virtues of the different projects, and incorporates the time factor.

The Migration Crisis: A Stress Test for European Values. European Policy Brief No. 38, September 2015

Confronted by the current refugee crisis, most Member States are turning inwards. But migration will continue to rise in the future. Given that migration is an unstoppable trend, the EU has everything to win from turning this crisis into an opportunity for its own citizens and economy, for the refugees and migrants it hosts and for their countries of origin. The manner in which the EU addresses this challenge will truly prove if it can live up to its founding principles of human dignity, solidarity, freedom, democracy and equality. This policy brief summarises European measures taken in the last few months and proposes four key actions to create a well-framed European migration policy: effectively implementing the principle of solidarity and fair-sharing of responsibility between Member States; creating more legal entry and integration channels; addressing the root causes of migration; and broadcasting a constructive and positive narrative on migration.

In-home Assessment of Turning and Transitions using Inertial Sensors in Older Adults with Dementia and Older Caregivers

Thesis (Master's)--University of Washington, 2016-06

O livro na passagem de “átomos” a “bits”: as tecnologias digitais no contexto do livro electrónico

As Tecnologias de Informação e Comunicação colocam em debate o modo de pensar e olhar o livro tradicional e originam novas materialidades para o texto e novas formas, espaços e géneros de leitura. A revolução originada por Gutenberg democratizou o acesso ao livro tradicional, alterando os processos de acesso ao conhecimento. As tecnologias eletrónicas trouxeram consigo uma nova revolução, virtualizando o acesso aos textos que alteraram a paisagem da cultura clássica do livro. Recorrendo à ideia original do investigador Nicholas Negroponte, pretende-se realizar uma análise das alterações que o livro sofreu, enquanto objeto de suporte ao texto, na sua passagem para contextos digitais ou na passagem de “átomos” para “bits”.

"Participação, um Caminho para a Mudança" Projeto desenvolvido com pessoas com doença renal crónica e cuidadores

O presente relatório reflete a (co)construção e desenvolvimento do projeto de educação e intervenção social “Participação, um Caminho para a Mudança”, que teve como palco a Caledial, uma clínica de hemodiálise em Canelas – Vila Nova de Gaia. Posicionado na metodologia da Investigação-Ação Participativa, este projeto permitiu a criação de espaços coletivos de partilha de experiências e vivências de pessoas com doença crónica, reconhecendo dificuldades e limitações, mas também as potencialidades e recursos existentes. Assim, pelo caminho da participação e da ação, procurou-se dar resposta a algumas das necessidades sentidas, promovendo um cada vez maior envolvimento das pessoas na procura do conhecimento sobre esta doença, no sentido da sua capacitação e empowerment. Teve como ponto de partida o primeiro convívio de Natal das pessoas em hemodiálise, familiares e profissionais da Caledial, e vários grupos de discussão sobre as vivências, perceções e sentimentos face à doença renal crónica. No âmbito deste projeto, resultado do trabalho coletivo de vários participantes, pretendeu-se compreender a realidade enquanto se agia sobre a mesma, num processo contínuo de reflexão-ação-reflexão, que foi capaz de mobilizar esforços individuais e coletivos no sentido da mudança. Surgiu como um desafio e afirmou-se como um dispositivo transformador das relações entre os profissionais de saúde, as pessoas em hemodiálise e as famílias, transformando a clínica num espaço mais aberto e inclusivo, promotor da participação e fértil para o desenvolver de atividades repletas de significado para as pessoas envolvidas.

Kun pelko astuu lavalle : eli kuinka opin elämään esiintymisjännityksen kanssa

This thesis focuses on stage fright; what it is and how to find the ideal solution in connection with stage fright. To find the way toward free expression; to find the way from lack of control to con-trol. It also describes how to learn to live with stage fright. Different experiences of stage fright have been used as source material, along with relevant theoretical information. The thesis highlights the importance of handling stage fright and studies stage fright in-depth, with examples. It presents studies and collected theories according to Päivi Arjas. It discusses presence and contact in the work of an actor with reference to the Gestalt method. It also presents methods of reducing stage fright. Ideal presence on stage is addressed, and how to turn stage fright into a positive thing. Finally, it considers the good aspects of stage fright in more deepth and goes through learning to live with stage fright. The thesis concludes that it is possible to heal stage fright. Gestalt methodology was of assistance with the healing process, with becoming conscious of symptoms, and thus in finding one's own way of turning anxious suspense into a positive way forward.

La caverna de Josep Palau i Fabre (1952-1969): teatre versus al·legoria filosòfica per a representar i impedir el final tràgic i fosc del lluminós art de pensar.

What is the use of performing the myth of the cave from book VII of the Republic by Plato? Josep Palau i Fabre, considers that, in Plato's dialogues, the speakers are mere instruments at the service of his dialectical goal. The aim of this article is to show how, by turning the myth into a tragedy and also by relying on Heraclitus's conflict or war of opposites, the playwright succeeds in favoring a sort of thought which is not one-sided or univocal. On the contrary, in Palau i Fabre's La Caverna, the tragic hero, that is, the released prisoner transformed by the light of Reality and finally killed by his "cavemates" -after having been imprisoned again and having tried to rescue them from their ignorance or shadows-, still leaves to them his powerful experience of the agonistikos thought, which might bear fruit in their life to come.

La caverna de Josep Palau i Fabre (1952-1969): teatro versus alegoría filosófica para representar e impedir el final trágico y sombrío del luminoso arte de pensar.

What is the use of performing the myth of the cave from book VII of the Republic by Plato? Josep Palau i Fabre, considers that, in Plato's dialogues, the speakers are mere instruments at the service of his dialectical goal. The aim of this article is to show how, by turning the myth into a tragedy and also by relying on Heraclitus's conflict or war of opposites, the playwright succeeds in favoring a sort of thought which is not one-sided or univocal. On the contrary, in Palau i Fabre's La Caverna, the tragic hero, that is, the released prisoner transformed by the light of Reality and finally killed by his "cavemates" -after having been imprisoned again and having tried to rescue them from their ignorance or shadows-, still leaves to them his powerful experience of the agonistikos thought, which might bear fruit in their life to come.

The cave (La caverna -1952-1969) by Josep Palau i Fabre: theatre versus philosophical allegory in order both to perform and stop the tragic and dark end of the bright art of thinking

What is the use of representing in performance the image of the cave from book VII of Plato’s Republic? Josep Palau i Fabre considers that in Plato’s dialogues the speakers are mere instruments at the service of his dialectical purpose. The aim of this article is to show how, by turning the myth into a tragedy and relying on Heraclitus’s conflict or war of opposites, the playwright succeeds in favouring a sort of thought which is not one-sided or univocal. On the contrary, in Palau i Fabre’s La Caverna, the tragic hero, the released prisoner transformed by the light of Reality and finally killed by his “cavemates” –after having been imprisoned again and having tried to rescue them from their ignorance or shadows– still leaves them his powerful experience of the agonistikós thought, which might bear fruit in their life to come.