A plasticidade acústica de uma população de Boto - Cinza, Sotalia Guianensis (Van Banédén, 1864) (Cetacea, Delphinidae), na região Nordeste do Brasil

The environmental characteristics can modify the acoustics of a species due to habitat, time of day and year. Therefore, this study investigated the relationships between seasons, tide, daily cycle of tides, times of day and different habitat and noise emission of S. guianensis. Sound recordings occurred in the Curral’s Cove and Lagoon Complex of Guaraíras (CLG) in the municipality of Tibau do Sul/RN. Whistles are emitted with lower frequency during rainy season and spring tide while clicks are higher; whistles, clicks and calls have higher frequency during ebb tide. These modifications can be related with turbidity and prey availability. The whistles and clicks occurrence are higher at night probably because luminosity is lower. Furthermore, the whistles and clicks frequency reduction overnight allows the sound to travel longer distance and helps the view which is limited; but the minimum frequency increase was needed to catch the prey. The low occurrence of calls could be related to the small group size. The acoustic changes at night may be partly influenced by light levels as prey availability that is larger in this period. Whistle frequencies and click initial frequency are higher in CLG than Curral’s cove that permitted good precision. However, click central frequency is lower and may be connected to tracking the area. Several factors may be associated with such modifications as background noise, bottom and others. This study supports the hypothesis that S. guianensis presents an acoustic plasticity according to the local conditions where the species is embedded and adapts to the environmental changes.

An augmented reality pipeline to create scenes with coherent illumination using textured cuboids

Shadows and illumination play an important role when generating a realistic scene in computer graphics. Most of the Augmented Reality (AR) systems track markers placed in a real scene and retrieve their position and orientation to serve as a frame of reference for added computer generated content, thereby producing an augmented scene. Realistic depiction of augmented content with coherent visual cues is a desired goal in many AR applications. However, rendering an augmented scene with realistic illumination is a complex task. Many existent approaches rely on a non automated pre-processing phase to retrieve illumination parameters from the scene. Other techniques rely on specific markers that contain light probes to perform environment lighting estimation. This study aims at designing a method to create AR applications with coherent illumination and shadows, using a textured cuboid marker, that does not require a training phase to provide lighting information. Such marker may be easily found in common environments: most of product packaging satisfies such characteristics. Thus, we propose a way to estimate a directional light configuration using multiple texture tracking to render AR scenes in a realistic fashion. We also propose a novel feature descriptor that is used to perform multiple texture tracking. Our descriptor is an extension of the binary descriptor, named discrete descriptor, and outperforms current state-of-the-art methods in speed, while maintaining their accuracy.

Um retrato do marginal brasileiro mediante o trabalho do ator com as personagens de Plínio Marcos em “Navalha na carne"

This thesis presented is to research the actor's work in the construction of physical actions, according to the methodology developed by Constantin Stanislavski in his analysis of dramatic action, called "method of physical action", applied to questions of scenic representation of the Brazilian marginal, according to the look "cruel" and realistic / naturalistic Plinio Marcos playwright. Based on the circumstances given by Pliniano universe, the intention is to contribute to the reflection on the actor's work on the scene with the marginal characters in "Razor in the Flesh", highlighting some important aspects, to assist in the construction of this fictional world. You want to create conditions for the formation of an actor that leverages the scene the contradictions and conflicts of this work. The research aims from the theoretical and practical study as a methodological hypothesis, producing critical reflection from the creative process of the agent with the realization of a scenic experiment focused on psychophysical technique of this Russian pedagogue. Thus, we intend to have a look at the method of physical actions focusing on his last great contribution to the work, especially the procedure of active analysis by doing a reading from "Razor in the Flesh" through this creative scenic exercise, extending the studies concerning the actor's art. This research is a general explanation about the trajectory of Stanislavski to his encounter with the physical action, while, highlights the inconsistencies of understanding of his work around the world. Stanislavski initially developed the "method" having as a backdrop, the realist aesthetic - a dialogue relationship between reality and the scene - through a style which creates a theatrical reality, and consequently, artistic, not literally naturalistic way through an integral mimicry. That is, the representation of work in realistic theater aesthetics should be developed in order to create a theatrical reality. Stanislavski believes that theater is convention, since the actor's work on himself should encourage this second nature, scenic.

A poética do corpo não-verbal: um olhar para a comicidade em cena

Throughout our history as an actor, director and teacher, we appreciate comedic performances they proposed a dialogue with the public through the body language of the performers whose performances abdicate the use of speech of the actors. This way of representing, in the silence of the stage, caught our attention and sparked our curiosity about the subject, which is directly related to the poetic constructions of the body on the scene. Before initial readings on the subject, we begin to understand that for a long time in human history, especially in the West, understanding body was constructed from various epistemological looks disregarded the body as a unit, an incarnation of the subject in all . This kind of thinking, reflecting the philosophy of modernity, reverberated strongly about the aesthetic issues of art making, here specifically in Theatre. For several centuries the theatrical make up molded from various aesthetic elements, but ignoring the potential of embodiment of the artist, ie the theatrical text, for example, was considered for a long time, as the main element of the scene and gave little emphasis on dramaturgy elaborate body. With the emergence of reflections on the subject, brought especially from the early twentieth century, the perception of the body as a creative element and creator, also began to gain ground. Over time artistic practices began to glimpse the creative possibilities of the body, including rethinking its relationship with the text written with the spoken word. And as part of these new reflections on the body in the creation process, we proposed this research, we have entitled "A poetics of non-verbal body: a look at the comic on the scene." In our research on this subject, also seek to understand how the corporeality of the actor may give us clues to realize / build nonverbal body and comical scene. From this perspective we can analyze how could the construction of a comical and non-verbal dramaturgy from the phenomenology of laughter. And with that look, we want to point out some aspects and procedures, arising from reflections on corporeality and comedy, that constitute, among other possible, non-verbal construction methodology scenic.

Implementação da infra-estrutura e protocolo de comunicação para tratamento e disponibilização de dados do projeto ePoste

The study consists in the structure elaboration and the ePoste project communicationprotocol, which is a system of monitoring by wireless communication with the aim tosensor and act with one or many public lighting points, and also the treatment of data todetect the activity in the sensors located on the posts. Previously the communication withsensors were made in locus and when data collect was necessary or the performance inthe devices, the operator had to move until the net place. Accordingly, the purpose has theconcern to increase the system dynamic, achieving the possible integrations with the systemsalready available to the lighting management. The same technology of communicationbetween the sensors are considerate, using the ZigBee protocol running on the meshnet, the communication with this net is made be internet through a gateway by GPRS,device with two basics functionalities, which bypass for data and the firmware update inthe sensor. This functionality test of data management is being tested; integrate way withlocal net of sensors and the internet data server operates. The protocol developed, besidesincorporating the ZigBee, that it is formation of framework in lower level, where definesbeginning, size and errors check, as well as the communication of sensor with the concentrator,which it is encapsulated in ZigBee; also the protocol of upper level, where thatit is the names, it was developed a platform of service to meet GET and POST requestsbeneath HTTP protocol, this service is implemented in the data server, which availablethe communication with the clients systems, in case, lighting management systems.

Atuações e papéis femininos: o corpo a corpo da atriz no teatro pernambucano durante a ditadura militar

This research investigated the female performance in Pernambuco theater during the Brazilian military dictator ship in the 1970s, analyzing the works of four actresses of theater groups Hermilo Borba Filho, Experiential and Expression, who acted in the period. Launches a look at the female body in the theater from a body scenic transgression: the conscience of a body insubordination in response to a given context. However, before delineated an overview of the artistic and socio - cultural position of women in the theater, in the periods prior to the dictatorship in Brazil and Pernambuco, covering theatrical and historical references, in order to reflect on how these settings interfered in the picture Social actr ess under the dictatorship. The groups are revisited by the looks of interpreters, which was perceived that female targeted search relationships, and in this context, relations with other theater groups of the time, with other artists of the groups that we re inserted with the dictatorial context with censorship, with the offender engaged and theater, with the body. In parallel, it develops a reflection on the scenic body that opposed the dictatorship, a body that violates the established norms, the Transgre ssor Body. The research also discusses an analogy between the work of the actresses who opposed the military regime and militant women. Starting from analyzes with interviews with the actresses from the methodologies of Oral History and Discourse Analysis, the study is developed by building up connections between the testimonies of the artists and the philosophical assumptions of Henri Bergson, on the body and memory. It is also designed to reflect on the changes of the female body in the theater in history , also in line with the philosophical concept of Becoming Woman Felix Guattari. It was found, therefore, that the actresses from the nineteenth century, were a group of female social actors who changed the position of women in history; the stigmatization o f the actress by profession, considered indecent in previous centuries, left traces in some areas today and the idea of the liberation of the female body propagated by feminism in the 1970s, was configured at the time as the best way to protest and will influence, in some contexts, the representation of women in their theatrical make.

Dramaturgia em mosaico: o mito de 'Antígona' no horizonte do provável ou para evitar um sentido universal dos clássicos

Nesse artigo, visa-se aprofundar, a partir da “Teoria da Comparação Diferencial” proposta por Ute Heidmann e das noções de diálogo cultural, os estudos acerca da reescritura dos textos clássicos na contemporaneidade, especificamente nos intertextos e na iconografia de Antígona e sua releitura cênica em diálogo com o mito de Oyá Balé

Mecanismos de sincronia social no ritmo circadiano de atividade durante a coabitação em casais de saguis (Callithrix jacchus)

In marmosets, it was observed that the synchrony among circadian activity profiles of animals that cohabite in family groups is stronger than those of the same sex and age of different families. Inside the group, it is stronger between the younger ones than between them and their parents. However, the mechanisms involved in the social synchrony are unknown. With the aim to investigate the synchronization mechanisms involved in the synchrony between the circadian activity profiles during cohabitation in pairs of marmosets, the motor activity was continuously registered by the use of actmeters on three dyads. The pairs were maintained in two different conditions of illumination: light-dark cycle LD 12:12 (LD cohabitation I – 21 days), and thereafter in LL (~350 lux). Under LL, the pairs were submitted to four experimental situations: 1. Cohabitation (LLJ I – 24 days), 2. Removal of one member of the pair to another room with similar conditions (LLS I – 20 days), 3. Reintroduction of the separated member in the cage of the first situation (LLJ II – 30 days) and 4. Removal of a member from each pair to another experimental room (LLS II – 7 days), to evaluate the mechanisms of synchronization. Ultimately, the members of each pair were reintroduced in the cage and were kept in LD cycle 12:12 (LDJ II – 11 days). The rhythms of pairs free-ran in LL, with identical periods between the members of each pair during the two stages of cohabitation. In the stages in which the animals were separated, only the rhythms of two females free-ran in the first stage and of three animals in the second one. In those conditions, the rhythms of animals of each pair showed different endogenous periods. Besides, during cohabitation in LD and LL, the members of each pair showed a stable phase relationship in the beginning of the active phase, while in the stages in which the animals were separated it was noticed a breaking in the stability in the phase relationships between the circadian activity profiles, with an increase in the difference in the phase angles between them. During cohabitation, at the transition between LD and LL, all animals showed free-running rhythms anticipating progressively the beginning and the end of the active phase in a phase similar to the previous condition, showing signs of entrainment to the previous LD. While in the posterior stages this was observed in only three animals between: LLT I and LLS I, and LLT II and LLS II, evidencing signs of entrainment to social cues between the members of each pair. On the other hand, one animal delayed progressively between LLT I and LLS I, three animals delayed between LLS I and LLT II, and three animals between LLT II and LLS II, perhaps by entrainment to the animals maintained outdoors in the colony. Similar process was observed in four animals between LLS II and LDT II, indicating entrainment to LD. In the transition between LLS I and LLT II, signs of masking was observed in the rhythm of a female in response to the male and in another pair in the rhythm of the male in regard to that of the female. The general and maximum correlations in the circadian activity profiles were stronger during cohabitation in LD and LL than in the absence of social contact in LL, evidencing the social effect. The cohabiting pairs had higher values of the maximum correlation in LD and LL than when the profiles were correlated to animals of different cages, with same or different sexes. Similar results were observed in the general correlation. Therefore, it is suggested that cohabitation induces a strong synchrony between circadian activity profiles in marmosets, which involves entrainment and masking. Nevertheless, additional studies are necessary to evaluate the effect of social cues on the synchronization of the circadian rhythm in pairs of marmosets in the absence of external social cues in order to confirm this hypothesis.

Caracterização do ritmo circadiano de atividade e repouso em saguis idosos (Callithrix Jacchus)

Advanced age may become a limiting factor for the maintenance of rhythms in organisms, reducing the capacity of generation and synchronization of biological rhythms. In this study, the influence of aging on the expression of endogenous periodicity and synchronization (photic and social) of the circadian activity rhythm (CAR) was evaluated in a diurnal primate, the marmoset (Callithrix jacchus). This study had two approaches: one with longitudinal design, performed with a male marmoset in two different phases: adult (three years) and older (9 y.o.) (study 1) and the second, a transversal approach, with 6 old (♂: 9.7 ± 2.0 y.o.) and 11 adults animals (♂: 4.2 ± 0.8 y.o.) (study 2). The evaluation of the photic synchronization involved two conditions in LD (natural and artificial illuminations). In study 1, the animal was subjected to the following stages: LD (12:12 ~ 350: ~ 2 lx), LL (~ 350 lx) and LD resynchronization. In the second study, the animals were initially evaluated in natural LD, and then the same sequence stages of study 1. During the LL stage in study 2, the vocalizations of conspecifics kept in natural LD on the outside of the colony were considered temporal cue to the social synchronization. The record of the activity was performed automatically at intervals of five minutes through infrared sensor and actimeters, in studies 1 and 2, respectively. In general, the aged showed a more fragmented activity pattern (> IV < H and > PSD, ANOVA, p < 0.05), lower levels of activity (ANOVA, p < 0.05) and shorter duration of active phase (ANOVA, p < 0.05) in LD conditions, when compared to adults. In natural LD, the aged presented phase delay pronounced for onset and offset of active phase (ANOVA, p < 0.05), while the adults had the active phase more adjusted to light phase. Under artificial LD, there was phase advance and greater adjustment of onset and offset of activity in relation to the LD in the aged (ANOVA, p < 0.05). In LL, there was a positive correlation between age and the endogenous period () in the first 20 days (Spearman correlation, p < 0.05), with prolonged  held in two aged animals. In this condition, most adults showed free-running period of the circadian activity rhythm with  < 24 h for the first 30 days and later on relative coordination mediated by auditory cues. In study 2, the cross-correlation analysis between the activity profiles of the animals in LL with control animals kept under natural LD, found that there was less social synchronization in the aged. With the resubmission to the LD, the resynchronization rate was slower in the aged (t-test; p < 0.05) and in just one aged animal there was a loss of resynchronization capability. According to the data set, it is suggested that the aging in marmosets may be related to: 1) lower amplitude and greater fragmentation of the activity, accompanied to phase delay with extension of period, caused by changes in a photic input, in the generation and behavioral expression of the CAR; 2) lower capacity of the circadian activity rhythm to photic synchronization, that can become more robust in artificial lighting conditions, possibly due to the higher light intensities at the beginning of the active phase due to the abrupt transitions between the light and dark phases; and 3) smaller capacity of non-photic synchronization for auditory cues from conspecifics, possibly due to reducing sensory inputs and responsiveness of the circadian oscillators to auditory cues, what can make the aged marmoset most vulnerable, as these social cues may act as an important supporting factor for the photic synchronization.

Caracterização do ritmo circadiano de atividade e repouso em saguis idosos (Callithrix Jacchus)

Advanced age may become a limiting factor for the maintenance of rhythms in organisms, reducing the capacity of generation and synchronization of biological rhythms. In this study, the influence of aging on the expression of endogenous periodicity and synchronization (photic and social) of the circadian activity rhythm (CAR) was evaluated in a diurnal primate, the marmoset (Callithrix jacchus). This study had two approaches: one with longitudinal design, performed with a male marmoset in two different phases: adult (three years) and older (9 y.o.) (study 1) and the second, a transversal approach, with 6 old (♂: 9.7 ± 2.0 y.o.) and 11 adults animals (♂: 4.2 ± 0.8 y.o.) (study 2). The evaluation of the photic synchronization involved two conditions in LD (natural and artificial illuminations). In study 1, the animal was subjected to the following stages: LD (12:12 ~ 350: ~ 2 lx), LL (~ 350 lx) and LD resynchronization. In the second study, the animals were initially evaluated in natural LD, and then the same sequence stages of study 1. During the LL stage in study 2, the vocalizations of conspecifics kept in natural LD on the outside of the colony were considered temporal cue to the social synchronization. The record of the activity was performed automatically at intervals of five minutes through infrared sensor and actimeters, in studies 1 and 2, respectively. In general, the aged showed a more fragmented activity pattern (> IV < H and > PSD, ANOVA, p < 0.05), lower levels of activity (ANOVA, p < 0.05) and shorter duration of active phase (ANOVA, p < 0.05) in LD conditions, when compared to adults. In natural LD, the aged presented phase delay pronounced for onset and offset of active phase (ANOVA, p < 0.05), while the adults had the active phase more adjusted to light phase. Under artificial LD, there was phase advance and greater adjustment of onset and offset of activity in relation to the LD in the aged (ANOVA, p < 0.05). In LL, there was a positive correlation between age and the endogenous period () in the first 20 days (Spearman correlation, p < 0.05), with prolonged  held in two aged animals. In this condition, most adults showed free-running period of the circadian activity rhythm with  < 24 h for the first 30 days and later on relative coordination mediated by auditory cues. In study 2, the cross-correlation analysis between the activity profiles of the animals in LL with control animals kept under natural LD, found that there was less social synchronization in the aged. With the resubmission to the LD, the resynchronization rate was slower in the aged (t-test; p < 0.05) and in just one aged animal there was a loss of resynchronization capability. According to the data set, it is suggested that the aging in marmosets may be related to: 1) lower amplitude and greater fragmentation of the activity, accompanied to phase delay with extension of period, caused by changes in a photic input, in the generation and behavioral expression of the CAR; 2) lower capacity of the circadian activity rhythm to photic synchronization, that can become more robust in artificial lighting conditions, possibly due to the higher light intensities at the beginning of the active phase due to the abrupt transitions between the light and dark phases; and 3) smaller capacity of non-photic synchronization for auditory cues from conspecifics, possibly due to reducing sensory inputs and responsiveness of the circadian oscillators to auditory cues, what can make the aged marmoset most vulnerable, as these social cues may act as an important supporting factor for the photic synchronization.

Análise do impacto do sombreamento vegetal no conforto termo-luminoso em edificações no clima quente e úmido

Este trabalho visa analisar o potencial do sombreamento vegetal no edifício para promover conforto térmico, luminoso e eficiência energética, a partir de simulações computacionais nos softwares DesignBuilder e Daysim. Foram simuladas diferentes combinações de fator de céu visível (FCV), transparência da copa vegetal e percentual de abertura da fachada (PAF) para edificação residencial térrea em Nata/RN, a fim de quantificar os impactos e propor recomendações projetuais. Os modelos foram analisados por meio do método de conforto adaptativo indicado pela ASHRAE Standard 55 (ASHRAE, 2010), classificação do nível de eficiência energética do Regulamento Técnico da Qualidade para o Nível de Eficiência Energética de Edificações Residenciais (RTQ-R), resultados de Daylight autonomy (DA) e uniformidade da luz natural para as exigências lumínicas de 100-300-500 lux. Os resultados demonstram grande potencial para integração da vegetação na edificação, principalmente para os fatores de céu médio e grande, e falta de coerência do RTQ-R para classificar as edificações da Zona bioclimática 08 pelo método de simulação.

Análise do impacto do sombreamento vegetal no conforto termo-luminoso em edificações no clima quente e úmido

Este trabalho visa analisar o potencial do sombreamento vegetal no edifício para promover conforto térmico, luminoso e eficiência energética, a partir de simulações computacionais nos softwares DesignBuilder e Daysim. Foram simuladas diferentes combinações de fator de céu visível (FCV), transparência da copa vegetal e percentual de abertura da fachada (PAF) para edificação residencial térrea em Nata/RN, a fim de quantificar os impactos e propor recomendações projetuais. Os modelos foram analisados por meio do método de conforto adaptativo indicado pela ASHRAE Standard 55 (ASHRAE, 2010), classificação do nível de eficiência energética do Regulamento Técnico da Qualidade para o Nível de Eficiência Energética de Edificações Residenciais (RTQ-R), resultados de Daylight autonomy (DA) e uniformidade da luz natural para as exigências lumínicas de 100-300-500 lux. Os resultados demonstram grande potencial para integração da vegetação na edificação, principalmente para os fatores de céu médio e grande, e falta de coerência do RTQ-R para classificar as edificações da Zona bioclimática 08 pelo método de simulação.

O ator na rua: uma expressividade caótica

Ce travail a recherché sur le processus de préparation corporel\vocal\énergique de l’acteur pour la rue. Notre quête principale c’est comprendre les processus qui l'acteur se déplace afin de développer une énergie à la scène dans la rue. C'est cette énergie qui est mis en place et se rapporte à le passant\spectateur? Qui attire l'attention de passant\spectateur? Serai l'histoire? Le code vestimentaire ou être une expressivité dynamisée? Serai une énergie présente dans le corps de l'acteur qui se relacione avec les passants? Comme l'acteur se rapporte à l'espace urbain? Pour tenter de répondre à ces questions, nous allons utilisé certains principes de la physique moderne, tels comme: la Théorie Quantique et le Principe d'Incertitude, autan la Théorie du Chaos. Le théâtre jouée dans les rues, surtout par le biais de longs prolongements de construction scénique, cependant, lorsque présentée au public, est prise par les autres causalités, car étant situé sur la rue, l'acteur devient assujettie à cet espace et ne peut pas nier la possibilité des faits qui peuvent se produire. Selon la physique quantique l'énergie se propage dans un espace vide, la quantité d'énergie physique étant échangé dans la rue, ce qui entraîne le moment magique où les corps des acteurs, des échanges constants avec les spectateurs, en permettant le saut quantique: le spectacle théâtral de la rue.

Um olhar sobre “Água Suja” e o “Moleque”: tradição, fé, cultura e teatralidade

This thesis addresses two spectacles: “Moleque tão Grande Otelo” and “Água Suja”, in which both have had my participation as producer and actress. The spectacle “Moleque tão Grande Otelo” reveals the racial-ethnic questions that surrounds the play and permeates the artist’s life whose name is the same. The play deals how the actor Grande Otelo life events’ had implied in his art, the facts that marked his career and they are shown at the spectacle, the reason why to articulate: art, life, fantasy and reality. Aiming to unveil the actor, I refer it to my history as an actress and the roots’ similarity to Sebastião Bernardes de Souza Prata, who became Grande Otelo to the world. In the staging of “Água Suja”, we also expose familial and religious memories and experiences of a people that overflow faith in a real spectacle, which takes place every year, in August, in our region, more specifically in Romaria – MG. While creating “Água Suja”, we experienced the act of keeping a promise and believing in the saint’s miracle, thus this experience is told in the spectacle and investigated in this study.

Recomendações para o desenvolvimento de uma ferramenta de suporte às primeiras decisões projetuais visando ao desempenho energético de edificações de escritório em clima quente

PEDRINI, Aldomar; SZOKOLAY, Steven. Recomendações para o desenvolvimento de uma ferramenta de suporte às primeiras decisões projetuais visando ao desempenho energético de edificações de escritório em clima quente. Ambiente Construído, Porto Alegre, v. 5, n. 1, p.39-54, jan./mar. 2005. Trimestral. Disponível em: . Acesso em: 04 out. 2010.