Estudo do design do selo postal português: proposta para aplicação de realidade aumentada

O presente projeto de investigação, propõe compreender a cultura visual contemporânea do design do selo postal português, de 2001 a 2013, considerando os avanços e os novos meios tecnológicos digitais. Para isso, partiu-se da história do selo postal como objeto de testemunho histórico, cultural e visual repleto de valores duradouros e possuidores de uma linguagem gráfica distinta. A esse conjunto de caraterísticas que determinam o selo postal, as mesmas, representam um grau de importância associados à história e à cultura de um país, evidenciando uma linguagem característica da vida social e da época que se encontra, que ao longo dos anos possuem valores de importância e sentimento para a humanidade. Primeiramente, procedeu-se a uma pesquisa exaustiva sobre os principais designers e ateliers portugueses, quer realizada em livros de coleções dos CTT, quer na internet em motores de busca. Seguidamente, realizou-se uma análise geral sobre a sintaxe da linguagem visual, baseada no trabalho de Donis A. Dondis (2003), declinada sobre a comunicação visual no design, para este caso, nos selos postais. Partindo dessa análise, posteriormente, efetuou-se a criação de uma emissão de selos postais juntamente com a tecnologia da realidade aumentada, tendo como base a temática centrada na cidade do Porto e que pode ser repercutida em diferentes cidades do país “Uma visita portuguesa com certeza”. Com este projeto conseguiu-se demonstrar e implementar uma tecnologia digital a um artefacto de cariz físico, usualmente, apresentado em suporte papel. O estudo pretende assim, contribuir para a inovação ao nível do design filatélico e histórico do selo postal português, tendo como base o uso dessa tecnologia.

Algol 68 Dialect Conversion -- a Syntactic Approach

A syntax directed package for converting Revised Algol 68 programs into Algol 68-R form, (where possible) is being developed at Nottingham. The package makes use of J.M. Foster's Syntax Improving Device (SID) [1]. The experience gained has underlined the value of a syntactic approach to problems of this sort. A far wider range of constructs can be translated than would ever be possible by using ad hoc methods. In many respects the difficulties encountered are those of conventional compiler writing, but some intriguing new problems arise when, as in this case, the source language and target language differ relatively little in philosophy and appearance.

Using SVG as the Rendering Model for Structured and Graphically Complex Web Material

This paper reports some experiments in using SVG (Scalable Vector Graphics), rather than the browser default of (X)HTML/CSS, as a potential Web-based rendering technology, in an attempt to create an approach that integrates the structural and display aspects of a Web document in a single XML-compliant envelope. Although the syntax of SVG is XML based, the semantics of the primitive graphic operations more closely resemble those of page description languages such as PostScript or PDF. The principal usage of SVG, so far, is for inserting complex graphic material into Web pages that are predominantly controlled via (X)HTML and CSS. The conversion of structured and unstructured PDF into SVG is discussed. It is found that unstructured PDF converts into pages of SVG with few problems, but difficulties arise when one attempts to map the structural components of a Tagged PDF into an XML skeleton underlying the corresponding SVG. These difficulties are not fundamentally syntactic; they arise largely because browsers are innately bound to (X)HTML/CSS as their default rendering model. Some suggestions are made for ways in which SVG could be more totally integrated into browser functionality, with the possibility that future browsers might be able to use SVG as their default rendering paradigm.

Monadic Parsing in Haskell

This paper is a tutorial on defining recursive descent parsers in Haskell. In the spirit of one-stop shopping, the paper combines material from three areas into a single source. The three areas are functional parsers, the use of monads to structure functional programs, and the use of special syntax for monadic programs in Haskell. More specifically, the paper shows how to define monadic parsers using do notation in Haskell. The paper is targeted at the level of a good undergraduate student who is familiar with Haskell, and has completed a grammars and parsing course. Some knowledge of functional parsers would be useful, but no experience with monads is assumed.

Maude Object-Oriented Action Tool

MAIDL, André Murbach; CARVILHE, Claudio; MUSICANTE, Martin A. Maude Object-Oriented Action Tool. Electronic Notes in Theoretical Computer Science. [S.l:s.n], 2008.

Ordinal Arithmetic: A Case Study for Rippling in a Higher Order Domain

This paper reports a case study in the use of proof planning in the context of higher order syntax. Rippling is a heuristic for guiding rewriting steps in induction that has been used successfully in proof planning inductive proofs using first order representations. Ordinal arithmetic provides a natural set of higher order examples on which transfinite induction may be attempted using rippling. Previously Boyer-Moore style automation could not be applied to such domains. We demonstrate that a higher-order extension of the rippling heuristic is sufficient to plan such proofs automatically. Accordingly, ordinal arithmetic has been implemented in lambda-clam, a higher order proof planning system for induction, and standard undergraduate text book problems have been successfully planned. We show the synthesis of a fixpoint for normal ordinal functions which demonstrates how our automation could be extended to produce more interesting results than the textbook examples tried so far.

Textmiljön i tre klassrum: En beskrivning av skrifthändelser i en finlandssvensk skola, en språkbadsskola och en sverigesvensk skola

Avhandlingens övergripande syfte är att beskriva och förstå elevers skrifthändelser i tre olika skolors skriftpraktiker. Mer specifikt beskrivs vilka skrifthändelser som ingår i årskurs 5 i en finlandssvensk skola och i en språkbadsskola, samt i skolår 5 i en sverigesvensk skola. Med utgångspunkt i att skrifthändelserna är didaktiskt valda beskrivs även eventuella likheter och skillnader i skolornas textmiljöer. Denna delstudie ingår i projektet Skrivkompetens (2014-) som är ett samarbete mellan Åbo Akademi, Vasa universitet och Stockholms universitet. Materialet består av fotografier tagna av ett av projektets forskningsbiträden. Utifrån en hermeneutisk forskningsansats analyseras materialet enligt ett eget skapat tolkningsmönster som baserar sig på analysmetoderna meningskategorisering och innehållsanalys. Det empiriska materialet är indelat i sex kategorier, som ytterligare är indelade i underkategorier beroende på skrifthändelsernas innehåll. Resultaten visar att det finns en bred variation gällande skrifthändelserna i skolorna och majoriteten av skrifthändelserna består av elevernas egna texter. Det finns även multimodala skrifthändelser, skrifthändelser på tavlan och väggarna, litterära skrifthändelser, digitala skrifthändelser, samt övriga skrifthändelser. Skolorna emellan varierar antalet skrifthändelser i de olika kategorierna och en del likheter och skillnader kan utläsas. I samtliga skolor är det svenska språket det mest förekommande språket och det finska språket förekommer inte alls i den sverigesvenska skolan. När eleverna skriver själva skriver de mest fritext där de själva får formulera texten. En tydlig skillnad som kan utläsas vid språkbadsskolan är att eleverna skriver betydligt mer på datorn än de två övriga skolorna, samt att webben inte används. Ytterligare en skillnad är att lärare skriver mer än eleverna på tavlan och väggarna vid den finlandssvenska skolan, medan eleverna skriver mer i de två övriga skolorna. Gällande litteraturen förekommer det mest läromedel i alla skolor och det förekommer mera skönlitteratur än facklitteratur vid språkbadsskolan och den sverigesvenska skolan. Vid den finlandssvenska skolan förekommer det däremot mer facklitteratur än skönlitteratur. Illustrationer förekommer mest bland de multimodala skrifthändelserna och majoriteten av alla multimodala skrifthändelser är färgglada.

Wokół składni „Rozmyślań dominikańskich”

Wydział Filologii Polskiej i Klasycznej

Processing of hierarchical syntactic strusture in music

Hierarchical structure with nested nonlocal dependencies is a key feature of human language and can be identified theoretically in most pieces of tonal music. However, previous studies have argued against the perception of such structures in music. Here, we show processing of nonlocal dependencies in music. We presented chorales by J. S. Bach and modified versions inwhich the hierarchical structure was rendered irregular whereas the local structure was kept intact. Brain electric responses differed between regular and irregular hierarchical structures, in both musicians and nonmusicians. This finding indicates that, when listening to music, humans apply cognitive processes that are capable of dealing with longdistance dependencies resulting from hierarchically organized syntactic structures. Our results reveal that a brain mechanism fundamental for syntactic processing is engaged during the perception of music, indicating that processing of hierarchical structure with nested nonlocal dependencies is not just a key component of human language, but a multidomain capacity of human cognition.

The 1999 BFA Graduating Class: Department of Visual Arts

One of the Highlights of our academic year is the exhibition of the works of the graduating class in our visual arts degree program. Of course it is very Satisfying to see such an unambiguous evidence of accomplishments of our students.But i also find the exhibition invariably inspiring because of the works themselves,which stimulate us to see again as children, with wide-eyed curiosity and wonder, without the need to explain or reduce, with delight, with horror, with recognition. In enabling us to see again in this way, the students have learned a very demanding craft and educated themselves inthe history, vocabulary and syntax of visual expression.

Gestural communication of music structure during solo classical piano performance

The production and perception of music is a multimodal activity involving auditory, visual and conceptual processing, integrating these with prior knowledge and environmental experience. Musicians utilise expressive physical nuances to highlight salient features of the score. The question arises within the literature as to whether performers’ non-technical, non-sound-producing movements may be communicatively meaningful and convey important structural information to audience members and co-performers. In the light of previous performance research (Vines et al., 2006, Wanderley, 2002, Davidson, 1993), and considering findings within co-speech gestural research and auditory and audio-visual neuroscience, this thesis examines the nature of those movements not directly necessary for the production of sound, and their particular influence on audience perception. Within the current research 3D performance analysis is conducted using the Vicon 12- camera system and Nexus data-processing software. Performance gestures are identified as repeated patterns of motion relating to music structure, which not only express phrasing and structural hierarchy but are consistently and accurately interpreted as such by a perceiving audience. Gestural characteristics are analysed across performers and performance style using two Chopin preludes selected for their diverse yet comparable structures (Opus 28:7 and 6). Effects on perceptual judgements of presentation modes (visual-only, auditory-only, audiovisual, full- and point-light) and viewing conditions are explored. This thesis argues that while performance style is highly idiosyncratic, piano performers reliably generate structural gestures through repeated patterns of upper-body movement. The shapes and locations of phrasing motions are identified particular to the sample of performers investigated. Findings demonstrate that despite the personalised nature of the gestures, performers use increased velocity of movements to emphasise musical structure and that observers accurately and consistently locate phrasing junctures where these patterns and variation in motion magnitude, shape and velocity occur. By viewing performance motions in polar (spherical) rather than cartesian coordinate space it is possible to get mathematically closer to the movement generated by each of the nine performers, revealing distinct patterns of motion relating to phrasing structures, regardless of intended performance style. These patterns are highly individualised both to each performer and performed piece. Instantaneous velocity analysis indicates a right-directed bias of performance motion variation at salient structural features within individual performances. Perceptual analyses demonstrate that audience members are able to accurately and effectively detect phrasing structure from performance motion alone. This ability persists even for degraded point-light performances, where all extraneous environmental information has been removed. The relative contributions of audio, visual and audiovisual judgements demonstrate that the visual component of a performance does positively impact on the over- all accuracy of phrasing judgements, indicating that receivers are most effective in their recognition of structural segmentations when they can both see and hear a performance. Observers appear to make use of a rapid online judgement heuristics, adjusting response processes quickly to adapt and perform accurately across multiple modes of presentation and performance style. In line with existent theories within the literature, it is proposed that this processing ability may be related to cognitive and perceptual interpretation of syntax within gestural communication during social interaction and speech. Findings of this research may have future impact on performance pedagogy, computational analysis and performance research, as well as potentially influencing future investigations of the cognitive aspects of musical and gestural understanding.

Formal and philological inquiries into the nature of interrogatives, indefinites, disjunction, and focus in Sinhala and other languages

In this thesis I examine a variety of linguistic elements which involve ``alternative'' semantic values---a class arguably including focus, interrogatives, indefinites, and disjunctions---and the connections between these elements. This study focusses on the analysis of such elements in Sinhala, with comparison to Malayalam, Tlingit, and Japanese. The central part of the study concerns the proper syntactic and semantic analysis of Q[uestion]-particles (including Sinhala "da", Malayalam "-oo", Japanese "ka"), which, in many languages, appear not only in interrogatives, but also in the formation of indefinites, disjunctions, and relative clauses. This set of contexts is syntactically-heterogeneous, and so syntax does not offer an explanation for the appearance of Q-particles in this particular set of environments. I propose that these contexts can be united in terms of semantics, as all involving some element which denotes a set of ``alternatives''. Both wh-words and disjunctions can be analysed as creating Hamblin-type sets of ``alternatives''. Q-particles can be treated as uniformly denoting variables over choice functions which apply to the aforementioned Hamblin-type sets, thus ``restoring'' the derivation to normal Montagovian semantics. The treatment of Q-particles as uniformly denoting variables over choice functions provides an explanation for why these particles appear in just this set of contexts: they all include an element with Hamblin-type semantics. However, we also find variation in the use of Q-particles; including, in some languages, the appearance of multiple morphologically-distinct Q-particles in different syntactic contexts. Such variation can be handled largely by positing that Q-particles may vary in their formal syntactic feature specifications, determining which syntactic contexts they are licensed in. The unified analysis of Q-particles as denoting variables over choice functions also raises various questions about the proper analysis of interrogatives, indefinites, and disjunctions, including issues concerning the nature of the semantics of wh-words and the syntactic structure of disjunction. As well, I observe that indefinites involving Q-particles have a crosslinguistic tendency to be epistemic indefinites, i.e. indefinites which explicitly signal ignorance of details regarding who or what satisfies the existential claim. I provide an account of such indefinites which draws on the analysis of Q-particles as variables over choice functions. These pragmatic ``signals of ignorance'' (which I argue to be presuppositions) also have a further role to play in determining the distribution of Q-particles in disjunctions. The final section of this study investigates the historical development of focus constructions and Q-particles in Sinhala. This diachronic study allows us not only to observe the origin and development of such elements, but also serves to delimit the range of possible synchronic analyses, thus providing us with further insights into the formal syntactic and semantic properties of Q-particles. This study highlights both the importance of considering various components of the grammar (e.g. syntax, semantics, pragmatics, morphology) and the use of philology in developing plausible formal analyses of complex linguistic phenomena such as the crosslinguistic distribution of Q-particles.

La déconstruction de l'onto-théologie par Jacques Derrida : détour littéraire et mise en relief de la matrice langagière comme "différance"

Le mouvement derridien de la différance marque la rupture avec l'affirmation de la métaphysique de la présence, avec l'autorité du signifié transcendantal. Dans cet univers mouvant de signifiants qui se renvoient perpétuellement les uns aux autres, la logique d'univocité se disloque. La "présence" n'est que fantomatique, s'esquissant au sein d'une chaîne ininterrompue de signifiants et se laissant toujours creuser par la marque d'un irréductible manque. Face au logocentrisme, corollaire de l'affirmation de la présence, l'écriture se veut siège et articulation de la trace, d'une origine qui ne peut être que raturée, véhicule d'une irrémédiable fêlure. La volet littéraire de la déconstruction a pour but de mettre en évidence le fonctionnement de l'"indécidabilité" du discours, soit une certaine ambivalence dans la signification qui caractérise tout texte. L'objectif principal de la présente recherche est de fournir une compréhension plus approfondie de la déconstruction en insistant sur l'ancrage langagier de tout texte. Le discours philosophique n'échappe ainsi pas au mécanisme différentiel du langage et de la dérive métaphorique. La parenté entre la perspective déconstructiviste derridienne et la conception mallarméenne du langage poétique semble frappante. La mise en oeuvre, par Mallarmé, d'une dislocation de l'espace textuel, son minutieux "creusement" du vers après renoncement à toute quête d'"Idéal", la mise en relief du leurre de l'appropriation langagière, voilà qui trouve un écho particulier dans les thèses derridiennes. La "mimésis" platonicienne se voit au travers du prisme de la "mimique" mallarméenne. La déconstruction poursuit son travail de "luxation" de l'oreille philosophique, insérant les philosophèmes dans la matrice langagière, les livrant ainsi au hasard du cheminement textuel et les confrontant à l'aporie. La philosophie n'a alors d'autre choix que d'abandonner ses prétentions transcendantales. La marche de la "différance" instaure une inexorable distance qui prive le sujet de tout rapport direct avec une origine assurée et lui ôte toute possibilité de maîtrise sur le monde. Au travers de la langue, se profile la question de l'altérité, de la relation dissymétrique qui nous lie à cet "autre", ce "tout-autre" qui nous fonde et nous constitue. L'accueil inconditionnel de cette altérité nous mènera à l'étude de la "religion", la déconstruction se tournant vers le "religieux" tout en effectuant un "retournement" habile de tout credo essentialiste.