Estudio de la pintura del paisaje campestre del Cantón Cuenca, siglo XX

La pintura de paisaje surge como corriente pictórica a finales del siglo XIX como un producto de una suma de intereses tanto académicos como científicos que desembocan en el interés por la naturaleza. Se enmarca dentro de un pensamiento político que sitúa a nuestro país en las expectativas de una nueva estructura socio cultural que pone énfasis en la libertad y en los derechos humanos, el derecho a la propiedad privada y sobre todo abre sus horizontes a la integración social y cultural, se ve la necesidad de comunicar e inspirarse en la propia tierra. En ésta investigación se pretende inquirir en los diferentes procesos que experimentan los artistas al contacto con la naturaleza; que se interiorizan a través de las distintas experiencias que tienen con las técnicas de proceso artístico, dentro de las cuales se capturan la luz, el espacio, la cromática, la vivencia que capta el espectador de las obras y las expectativas que tiene del artista. Este proceso puede o no ser artístico: algunas veces guiado por el academicismo, otras veces por encargo, con expectativas que muchas veces tienen fines políticos (poniendo en desmedro del valor académico, el tema). Obras que se traducen en una exigencia de la técnica, ya que se trata de captar la naturaleza, que de por sí es perfecta, en un prolijo uso casi perfeccionista de la misma, sin llegar a comprender que los individuos como las huellas dactilares, son diferentes en su interior; por lo que captarán la esencia de la naturaleza de acuerdo a las numerosas experiencias que hayan tenido con ella. La idea de pintar paisaje ya no está relacionada solamente con la observación sino con la perspectiva de representar el entorno de acuerdo a la manera muy particular y especial de cada artista.

Endoscopic optical coherence tomography : design and application

This thesis presents an investigation on endoscopic optical coherence tomography (OCT). As a noninvasive imaging modality, OCT emerges as an increasingly important diagnostic tool for many clinical applications. Despite of many of its merits, such as high resolution and depth resolvability, a major limitation is the relatively shallow penetration depth in tissue (about 2∼3 mm). This is mainly due to tissue scattering and absorption. To overcome this limitation, people have been developing many different endoscopic OCT systems. By utilizing a minimally invasive endoscope, the OCT probing beam can be brought to the close vicinity of the tissue of interest and bypass the scattering of intervening tissues so that it can collect the reflected light signal from desired depth and provide a clear image representing the physiological structure of the region, which can not be disclosed by traditional OCT. In this thesis, three endoscope designs have been studied. While they rely on vastly different principles, they all converge to solve this long-standing problem.

A hand-held endoscope with manual scanning is first explored. When a user is holding a hand- held endoscope to examine samples, the movement of the device provides a natural scanning. We proposed and implemented an optical tracking system to estimate and record the trajectory of the device. By registering the OCT axial scan with the spatial information obtained from the tracking system, one can use this system to simply ‘paint’ a desired volume and get any arbitrary scanning pattern by manually waving the endoscope over the region of interest. The accuracy of the tracking system was measured to be about 10 microns, which is comparable to the lateral resolution of most OCT system. Targeted phantom sample and biological samples were manually scanned and the reconstructed images verified the method.

Next, we investigated a mechanical way to steer the beam in an OCT endoscope, which is termed as Paired-angle-rotation scanning (PARS). This concept was proposed by my colleague and we further developed this technology by enhancing the longevity of the device, reducing the diameter of the probe, and shrinking down the form factor of the hand-piece. Several families of probes have been designed and fabricated with various optical performances. They have been applied to different applications, including the collector channel examination for glaucoma stent implantation, and vitreous remnant detection during live animal vitrectomy.

Lastly a novel non-moving scanning method has been devised. This approach is based on the EO effect of a KTN crystal. With Ohmic contact of the electrodes, the KTN crystal can exhibit a special mode of EO effect, termed as space-charge-controlled electro-optic effect, where the carrier electron will be injected into the material via the Ohmic contact. By applying a high voltage across the material, a linear phase profile can be built under this mode, which in turn deflects the light beam passing through. We constructed a relay telescope to adapt the KTN deflector into a bench top OCT scanning system. One of major technical challenges for this system is the strong chromatic dispersion of KTN crystal within the wavelength band of OCT system. We investigated its impact on the acquired OCT images and proposed a new approach to estimate and compensate the actual dispersion. Comparing with traditional methods, the new method is more computational efficient and accurate. Some biological samples were scanned by this KTN based system. The acquired images justified the feasibility of the usage of this system into a endoscopy setting. My research above all aims to provide solutions to implement an OCT endoscope. As technology evolves from manual, to mechanical, and to electrical approaches, different solutions are presented. Since all have their own advantages and disadvantages, one has to determine the actual requirements and select the best fit for a specific application.

Conservação e restauro de azulejo: metodologias de intervenção vs indicadores de compatibilidade

A escassez de parâmetros técnicos e científicos e o caráter subjetivo que em regra preside à escolha de determinado material, produto ou técnica suscitaram o interesse pelo presente tema onde se procurou aumentar as ferramentas de análise e de apoio à decisão em intervenções de conservação do património azulejar. Procurou compreender-se o azulejo a nível histórico, estético, técnico e material, estudando-o do ponto de vista físico, químico e mineralógico. Comparando o azulejo com as réplicas produzidas para intervenções de conservação e restauro estudadas, concluiu-se que as suas composições, química e mineralógica, são diferentes, embora não se verifiquem tantas dissemelhanças ao nível das propriedades físicas. As linhas orientadoras da conservação e restauro de azulejo foram lançadas por Santos Simões a partir dos anos 40 do séc. XX e, desde então, foi-se desenvolvendo um pouco à margem das restantes áreas de especialidade, mesmo ao nível do ensino. Os resultados do inquérito internacional junto dos profissionais que trabalham em conservação e restauro de azulejo in situ corroboram de certo modo este facto e, simultaneamente, permitem uma apreensão da situação atual. Constatou-se uma quase total ausência de documentação sobre intervenções realizadas, mas a análise de casos de estudo e de relatórios permitiu uma primeira sistematização da informação disponível segundo os materiais correntemente utilizados. Procedeu-se a uma identificação e tipificação de patologias decorrentes das intervenções procurando entender qual o papel que tiveram os materiais utilizados e as técnicas de intervenção no desempenho das intervenções. Os processos de reintegração volumétrica e cromática mereceram uma maior atenção, procedendo-se à simulação de todo o sistema, em contexto laboratorial, com base nos materiais correntemente utilizados. Os resultados revelam comportamento diferenciado dos materiais de origem orgânica e inorgânica, evidenciando estes últimos uma maior compatibilidade com o azulejo, mas um pior desempenho a médio/longo prazo. O reconhecimento das soluções mais ou menos compatíveis permitiu delinear uma metodologia de avaliação da compatibilidade, da eficácia e do desempenho dos materiais e das técnicas utilizadas, contribuindo também para a definição de algumas recomendações e de critérios de atuação; Abstract The lack of information found, when selecting a material, product or technique, to apply on a specific conservation treatment contributed to the interest on this topic. The historical, aesthetic and technical characteristics of the azulejo was researched by studying their physical, chemical and mineralogical properties. Comparing original azulejos with the replicas produced for conservation treatments studied, it was concluded that the chemical and mineralogical composition is different, although there are less dissimilarities in terms of physical properties. The guidelines for conservation and restoration were launched by Santos Simões in the 40s and since then, it has been developing a bit on the sidelines of the remaining areas of expertise, even at an educational level. The results of an international survey, near professionals working in conservation and restoration of azulejo in situ, corroborate this fact and simultaneously allow an insight of the current situation. It was found an almost complete lack of technical documentation about previous conservation interventions, but the analysis of existent case studies and intervention reports permitted a systematization of the available information, also considering the materials commonly used. The identification and characterization of damages resulting from interventions, was performed trying to establish a correlation with the materials used and intervention techniques. The attention focused on the study of the infills and chromatic reintegration and a simulation of the entire system was developed, in a laboratory context, on the basis of commonly used materials. The results reveal a distinct behavior between the organic and inorganic materials, showing the latter greater compatibility with the azulejos but a worse medium/long-term performance. The recognition of more or less compatible solutions allowed to outline a methodology to evaluate the compatibility, efficiency and performance of materials and techniques used, also contributing to define some recommendations and action criteria.

Use of alternative wood chips from new botanical species. Their impact on phenolic composition and sensory properties of a white wine from Encruzado grape variety

Mestrado Vinifera Euromaster - Instituto Superior de Agronomia - UL

Ondina e as formas em metamorfose, uma poética inquietante

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-Graduação em Arte, 2016.

3D-form metrology of arbitrary optical surfaces by absorption in fluids

We present an imaging technique for the 3D-form metrology of optical surfaces. It is based on the optical absorption in fluids situated between the surface and a reference. An improved setup with a bi-chromatic light source is fundamental to obtain reliable topographic maps. It is able to measure any surface finish (rough or polished), form and slope and independently of scale. We present results focused on flat and spherical optical surfaces, arrays of lenses and with different surface finish (rough-polished). We achieve form accuracies from several nanometers to sub-lambda for sag departures from tens to hundred of microns. Therefore, it seems suitable for the quality control in the production of precision aspheric, freeform lenses and other complex shapes on transparent substrates, independently of the surface finish.

Evolution of classifiers for pitch estimation of piano music using cartesian genetic programming

Pitch Estimation, also known as Fundamental Frequency (F0) estimation, has been a popular research topic for many years, and is still investigated nowadays. The goal of Pitch Estimation is to find the pitch or fundamental frequency of a digital recording of a speech or musical notes. It plays an important role, because it is the key to identify which notes are being played and at what time. Pitch Estimation of real instruments is a very hard task to address. Each instrument has its own physical characteristics, which reflects in different spectral characteristics. Furthermore, the recording conditions can vary from studio to studio and background noises must be considered. This dissertation presents a novel approach to the problem of Pitch Estimation, using Cartesian Genetic Programming (CGP).We take advantage of evolutionary algorithms, in particular CGP, to explore and evolve complex mathematical functions that act as classifiers. These classifiers are used to identify piano notes pitches in an audio signal. To help us with the codification of the problem, we built a highly flexible CGP Toolbox, generic enough to encode different kind of programs. The encoded evolutionary algorithm is the one known as 1 + , and we can choose the value for . The toolbox is very simple to use. Settings such as the mutation probability, number of runs and generations are configurable. The cartesian representation of CGP can take multiple forms and it is able to encode function parameters. It is prepared to handle with different type of fitness functions: minimization of f(x) and maximization of f(x) and has a useful system of callbacks. We trained 61 classifiers corresponding to 61 piano notes. A training set of audio signals was used for each of the classifiers: half were signals with the same pitch as the classifier (true positive signals) and the other half were signals with different pitches (true negative signals). F-measure was used for the fitness function. Signals with the same pitch of the classifier that were correctly identified by the classifier, count as a true positives. Signals with the same pitch of the classifier that were not correctly identified by the classifier, count as a false negatives. Signals with different pitch of the classifier that were not identified by the classifier, count as a true negatives. Signals with different pitch of the classifier that were identified by the classifier, count as a false positives. Our first approach was to evolve classifiers for identifying artifical signals, created by mathematical functions: sine, sawtooth and square waves. Our function set is basically composed by filtering operations on vectors and by arithmetic operations with constants and vectors. All the classifiers correctly identified true positive signals and did not identify true negative signals. We then moved to real audio recordings. For testing the classifiers, we picked different audio signals from the ones used during the training phase. For a first approach, the obtained results were very promising, but could be improved. We have made slight changes to our approach and the number of false positives reduced 33%, compared to the first approach. We then applied the evolved classifiers to polyphonic audio signals, and the results indicate that our approach is a good starting point for addressing the problem of Pitch Estimation.

Alexander Scriabin: the definition of a new sound space in the crisis of tonality

This dissertation describes the new compositional system introduced by Scriabin in 1909– 1910, focusing on Feuillet d’Album op. 58, Poème op. 59, nº1, Prélude op. 59, nº2 and Promethée op. 60. Based upon exhaustive pitch and formal analysis the present study (a) claims the inexistence of non-functional pitches in all analysed works, (b) shows that transpositional procedures have structural consequences on the “basic chord”, and (c) for the first time advances an explanation on the intrinsic relation between the sonata form and the slow Luce line in Promethée op. 60; RESUMO: Sob o título de “Alexander Scriabin: a definição dum novo espaço sonoro na crise da Tonalidade”, a presente tese descreve o novo sistema compositivo introduzido por Scriabin em 1909– 1910, tomando como ponto de partida o estudo de Feuillet d’Album op. 58, Poème op. 59, nº1, Prélude op. 59, nº2 e Promethée op. 60. Baseando-se numa análise exaustiva das alturas e da forma, este estudo (a) conclui pela inexistência de alturas não funcionais em qualquer das obras analisadas, (b) mostra que os procedimentos transpositivos têm consequências estruturais no “acorde básico”, e (c) pela primeira vez explica a estrutura formal de Promethée op. 60 a partir da relação intrínseca entre a sua forma sonata e a linha lenta de Luce.

Knowledge-based Chord Embeddings

This thesis develops AI methods as a contribution to computational musicology, an interdisciplinary field that studies music with computers. In systematic musicology a composition is defined as the combination of harmony, melody and rhythm. According to de La Borde, harmony alone "merits the name of composition". This thesis focuses on analysing the harmony from a computational perspective. We concentrate on symbolic music representation and address the problem of formally representing chord progressions in western music compositions. Informally, chords are sets of pitches played simultaneously, and chord progressions constitute the harmony of a composition. Our approach combines ML techniques with knowledge-based techniques. We design and implement the Modal Harmony ontology (MHO), using OWL. It formalises one of the most important theories in western music: the Modal Harmony Theory. We propose and experiment with different types of embedding methods to encode chords, inspired by NLP and adapted to the music domain, using both statistical (extensional) knowledge by relying on a huge dataset of chord annotations (ChoCo), intensional knowledge by relying on MHO and a combination of the two. The methods are evaluated on two musicologically relevant tasks: chord classification and music structure segmentation. The former is verified by comparing the results of the Odd One Out algorithm to the classification obtained with MHO. Good performances (accuracy: 0.86) are achieved. We feed a RNN for the latter, using our embeddings. Results show that the best performance (F1: 0.6) is achieved with embeddings that combine both approaches. Our method outpeforms the state of the art (F1 = 0.42) for symbolic music structure segmentation. It is worth noticing that embeddings based only on MHO almost equal the best performance (F1 = 0.58). We remark that those embeddings only require the ontology as an input as opposed to other approaches that rely on large datasets.