On the use of software models during software execution

Increasingly software systems are required to survive variations in their execution environment without or with only little human intervention. Such systems are called "eternal software systems". In contrast to the traditional view of development and execution as separate cycles, these modern software systems should not present such a separation. Research in MDE has been primarily concerned with the use of models during the first cycle or development (i.e. during the design, implementation, and deployment) and has shown excellent results. In this paper the author argues that an eternal software system must have a first-class representation of itself available to enable change. These runtime representations (or runtime models) will depend on the kind of dynamic changes that we want to make available during execution or on the kind of analysis we want the system to support. Hence, different models can be conceived. Self-representation inevitably implies the use of reflection. In this paper the author briefly summarizes research that supports the use of runtime models, and points out different issues and research questions. © 2009 IEEE.

Ser-imagem – Além do selfie. A autorrepresentação fotográfica no Facebook

In a crescent connected and image-made society in various online social networks, each user taking pictures of him/herself and posting them on social online network, makes a self-registration that emerges in self-representation by aggregated daily practices of various themes. This research aims to study the dynamics of the relations of this photographic self-representation relations with agency, technology, affectivity, and consumption that goes beyond narcissism, composing a being integrated with the visual power and its reverberations, which I hereby call as Being -Image. The goal of this paper is an anthropological look over these practices. In this sense, I carry out the research developed in the field of image and cyber antropology with various interlocutors established in dialogues, analysis and virtual meetings. I tried, besides conversations and interviews, to analyze the profiles on the social network as well as daily posts, photo albums available on online network , sharings and mainly selfies.

"On our way": identities and representations of African women seeking asylum in Ireland

This thesis provides the first explicit Postcolonial study of asylum in the Irish context that integrates Black Feminist analyses of intersectional identity with Postcolonial Feminist theories of representation. African women seeking asylum in the Republic of Ireland were key political instruments used by the state to re-draw racial lines. The study examines how, for a group of African women “On their Way” through asylum, identity and representation work hand in hand to force identities, subaltern spaces and bodies to occupy them. Rich biographical data is gathered through mixed art and drama methods over two intensive participatory research projects conducted in a small Irish city. Data analysis critically examines the poetics (practices that signify) and politics (the powers that govern these practices) and affective economies of global and local NGO visual representations, exposing how they consume, fragment, and appropriate African women’s identities and bodies. Though hypervisible, the women themselves “cannot speak”. The women in the study reported feeling “tired” and “used”. Asking “What work are they doing as they do asylum?” the study finds that black female identities and bodies are forced to perform political, cultural, emotional and material labour on their way through this context of Irish asylum. The author argues that Postcolonial Asylum is a performative encounter that re-scripts colonial race/class/gender discourse through a humanitarian alibi to naturalize European/white supremacy, reinscribe patriarchal power and justify racialised incarceration of bodies seeking asylum in the North. This study takes an interdisciplinary approach that centralizes Black and Postcolonial Feminist theory and innovates Participatory Art-Based Action methodology. Black and Postcolonial feminisms can recognize, theorize and replenish black female political and intellectual agency. Participatory Action research, if grounded in Black feminist epistemology and ethics, can allow participants to “speak back” to what is already said about them in spaces of convivial self-representation.

Photography, desire and resistance in the lives of women, following the 1979 revolution in Iran

In my last four years of PhD by practice at the Royal College of Art, I have conducted extensive research on archival photography including materials held at the Museum der Weltkulturen, Frankfurt am Main; the Institute for Iranian Contemporary Historical Studies (IICHS) , Tehran; and the International Institute of Social History (IISH), Amsterdam. My project started with the fortuitous encounter with a photograph taken by Iranian photographer Hengameh Golestan on the morning of March 8, 1979. The photograph shows women marching in the streets of Teheran in protest against the introduction of the compulsory Islamic dress code. In 1936 Reza Shah had decreed a ban on the headscarf as part oh his westernising project. Over forty years later following the 1979 Revolution, Ruhollah Khomeini reversed this decision by ordering that women should now cover their hair. This ‘found image’ presented me with a glimpse into the occulted history of my own country and the opportunity to advance towards a deeper learning and understanding of the event of March 8, 1979 a significant date in the history of feminism in Iran. In what follows I revisit the history of Iran since the 1979 revolution with a particular inflexion on the role women played in that history. However, as my project develops , I gradually move away from the socio-historical facts to investigate the legacy of the revolution on the representations of women in photography, film and literature as well as the creation of an imaginary space of self representation. To this end my writing moves constantly between the documentary, the analytical and the personal. In parallel I have made photographs and video works which are explorations of the veil as object of fascination and desire as well as symbol of repression.

Tourism Media Dynamics: Narratives of the Nation-State

With the premise that the tourism promotional video “China, Forever” provides a crucial access to understanding how tourism engages in a wider circle of socio-culture formation, this dissertation research approaches tourism by examining communicative practices initiated by “China, Forever”. In doing so, it seeks to reveal two dialogues – firstly, between the discursive construction of tourism representational language and China’s nation-state ideology; secondly, between interpretations from overseas Chinese audiences and nation-state narratives delivered via the tourism media. In analyzing the first dialogue, this dissertation reveals that the pursuit of collective and monolithic national imagery has caused a representational violence – one that is committed by the nation-state ideology operated through the organization of tourism language. The very representational coercion itself, however, signifies the nature of tourism media as a vehicle mediating the global gaze and China’s self-representation; illuminating the fact that China’s nation-state building is only to be understood as deeply-grounded in the complexity of postcolonial politics. Furthermore, in a dialectic view, such finding consolidates the nature of “China, Forever” as a cultural product that actively exists as a component in the overall social fabric, co-creating a wider circle of culture politics together with other genres of media products; thus, calling for a more comprehensive understanding of tourism media at large. In the second approach, this dissertation seeks to understand how the tourism video “China, Forever” mediates the relationship between tourism narratives of the nation-state and overseas Chinese individuals; thus bridging together tourism media and ongoing life experiences of the audiences chosen. The analysis reveals that audiences’ interpretations heavily concentrate on resisting and fragmenting the hegemonic nation-state language in “China, Forever”. While some interviewees seek to decentralize the nation-state perspective from aspects of aesthetics, representational style, and representational subjects in “China, Forever” by incorporating their individual memories and past experiences, to some others, the over-polished glorification of China in the mediated tourism discourse is only coercive to China’s social realities experienced by the individual interviewees - the disheartening contrasts of poverty and affluence as well as other social inequalities. From the perspective of the audience group, the Chinese scholars and students at the University of Illinois interviewed for this dissertation research constitute a cohort of exiled audiences for the tourism video “China, Forever”. The audiences subject themselves to voluntary interpellation, a process in which they find themselves defending, negotiating, and resisting the nation-state representation of China – even though they are not its intended audience and have had no input into its production. Nevertheless, such process is one of identification, in which viewers articulate a subject position from which to speak of their own experiences, dilemmas and desires. The usefulness of tourism media discourse in mediating the nation-state narratives and the individual experience is amplified.

Reproducing Women: Female Bodily Narratives and English Patriarchies, 1600-1660

During the early Stuart period, England’s return to male monarchal rule resulted in the emergence of a political analogy that understood the authority of the monarch to be rooted in the “natural” authority of the father; consequently, the mother’s authoritative role within the family was repressed. As the literature of the period recognized, however, there would be no family unit for the father to lead without the words and bodies of women to make narratives of dynasty and legitimacy possible. Early modern discourse reveals that the reproductive roles of men and women, and the social hierarchies that grow out of them, are as much a matter of human design as of divine or natural law. Moreover, despite the attempts of James I and Charles I to strengthen royal patriarchal authority, the role of the monarch was repeatedly challenged on stage and in print even prior to the British Civil Wars and the 1649 beheading of Charles I. Texts produced at moments of political crisis reveal how women could uphold the legitimacy of familial and political hierarchies, but they also disclose patriarchy’s limits by representing “natural” male authority as depending in part on women’s discursive control over their bodies. Due to the epistemological instability of the female reproductive body, women play a privileged interpretive role in constructing patriarchal identities. The dearth of definitive knowledge about the female body during this period, and the consequent inability to fix or stabilize somatic meaning, led to the proliferation of differing, and frequently contradictory, depictions of women’s bodies. The female body became a site of contested meaning in early modern discourse, with men and women struggling for dominance, and competitors so diverse as to include kings, midwives, scholars of anatomy, and female religious sectarians. Essentially, this competition came down to a question of where to locate somatic meaning: In the opaque, uncertain bodies of women? In women’s equally uncertain and unreliable words? In the often contradictory claims of various male-authored medical treatises? In the whispered conversations that took place between women behind the closed doors of birthing rooms? My dissertation traces this representational instability through plays by William Shakespeare, John Ford, Thomas Middleton, and William Rowley, as well as in monstrous birth pamphlets, medical treatises, legal documents, histories, satires, and ballads. In these texts, the stories women tell about and through their bodies challenge and often supersede male epistemological control. These stories, which I term female bodily narratives, allow women to participate in defining patriarchal authority at the levels of both the family and the state. After laying out these controversies and instabilities surrounding early modern women’s bodies in my first chapter, my remaining chapters analyze the impact of women’s words on four distinct but overlapping reproductive issues: virginity, pregnancy, birthing room rituals, and paternity. In chapters 2 and 3, I reveal how women construct the inner, unseen “truths” of their reproductive bodies through speech and performance, and in doing so challenge the traditional forms of male authority that depend on these very constructions for coherence. Chapter 2 analyzes virginity in Thomas Middleton and William Rowley’s play The Changeling (1622) and in texts documenting the 1613 Essex divorce, during which Frances Howard, like Beatrice-Joanna in the play, was required to undergo a virginity test. These texts demonstrate that a woman’s ability to feign virginity could allow her to undermine patriarchal authority within the family and the state, even as they reveal how men relied on women to represent their reproductive bodies in socially stabilizing ways. During the British Civil Wars and Interregnum (1642-1660), Parliamentary writers used Howard as an example of how the unruly words and bodies of women could disrupt and transform state politics by influencing court faction; in doing so, they also revealed how female bodily narratives could help recast political historiography. In chapter 3, I investigate depictions of pregnancy in John Ford’s tragedy, ‘Tis Pity She’s a Whore (1633) and in early modern medical treatises from 1604 to 1651. Although medical texts claim to convey definitive knowledge about the female reproductive body, in actuality male knowledge frequently hinged on the ways women chose to interpret the unstable physical indicators of pregnancy. In Ford’s play, Annabella and Putana take advantage of male ignorance in order to conceal Annabella’s incestuous, illegitimate pregnancy from her father and husband, thus raising fears about women’s ability to misrepresent their bodies. Since medical treatises often frame the conception of healthy, legitimate offspring as a matter of national importance, women’s ability to conceal or even terminate their pregnancies could weaken both the patriarchal family and the patriarchal state that the family helped found. Chapters 4 and 5 broaden the socio-political ramifications of women’s words and bodies by demonstrating how female bodily narratives are required to establish paternity and legitimacy, and thus help shape patriarchal authority at multiple social levels. In chapter 4, I study representations of birthing room gossip in Thomas Middleton’s play, A Chaste Maid in Cheapside (1613), and in three Mistris Parliament pamphlets (1648) that satirize parliamentary power. Across these texts, women’s birthing room “gossip” comments on and critiques such issues as men’s behavior towards their wives and children, the proper use of household funds, the finer points of religious ritual, and even the limits of the authority of the monarch. The collective speech of the female-dominated birthing room thus proves central not only to attributing paternity to particular men, but also to the consequent definition and establishment of the political, socio-economic, and domestic roles of patriarchy. Chapter 5 examines anxieties about paternity in William Shakespeare’s The Winter’s Tale (1611) and in early modern monstrous birth pamphlets from 1600 to 1647, in which children born with congenital deformities are explained as God’s punishment for the sexual, religious, and/or political transgressions of their parents or communities. Both the play and the pamphlets explore the formative/deformative power of women’s words and bodies over their offspring, a power that could obscure a father’s connection to his children. However, although the pamphlets attempt to contain and discipline women’s unruly words and bodies with the force of male authority, the play reveals the dangers of male tyranny and the crucial role of maternal authority in reproducing and authenticating dynastic continuity and royal legitimacy. My emphasis on the socio-political impact of women’s self-representation distinguishes my work from that of scholars such as Mary Fissell and Julie Crawford, who claim that early modern beliefs about the female reproductive body influenced textual depictions of major religious and political events, but give little sustained attention to the role female speech plays in these representations. In contrast, my dissertation reveals that in such texts, patriarchal society relies precisely on the words women speak about their own and other women’s bodies. Ultimately, I argue that female bodily narratives were crucial in shaping early modern culture, and they are equally crucial to our critical understanding of sexual and state politics in the literature of the period.

Peter Stadler: Pestalozzi. Geschichtliche Biographie. Band 2: Von der Umwälzung zur Restauration. Zürich: Verlag Neue Zürcher Zeitung 1993 [Rezension]

Rezension von: Peter Stadler: Pestalozzi. Geschichtliche Biographie. Band 2: Von der Umwälzung zur Restauration. Zürich: Verlag Neue Zürcher Zeitung 1993, 679 S.

Ludwig Fertig: Vor-Leben. Bekenntnis und Erziehung bei Thomas Mann. Darmstadt: Wissenschaftliche Buchgesellschaft 1994 [Rezension]

Rezension von: Ludwig Fertig: Vor-Leben. Bekenntnis und Erziehung bei Thomas Mann. Darmstadt: Wissenschaftliche Buchgesellschaft 1994, 312 S.

Auto-conceito e qualidade da relação de vinculação em crianças do pré-escolar

Dissertação de Mestrado apresentada ao Instituto Superior de Psicologia Aplicada para obtenção de grau de Mestre na especialidade de Psicologia Educacional.

Defenestração : deslocamento e identidade na obra de Amélie Nothomb

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

Malséance : la mort et l'image dans le (méta)théâtre de Samuel Beckett et de Jean Genet

Both ludic and macabre, the theatrical works of Samuel Beckett and Jean Genet are a paradox to behold. Indeed, as this thesis seeks to illustrate, despite their vastly differing aesthetics, at the core of each playwright’s stage productions is a tension between the characters’ yearning for silence and invisibility, and the continual creation of an often humorous, chaotic, exaggerated or theatrical image that depicts this very longing. Seeking an impossible intersection between their image and their death, they are trapped in a double bind that guarantees aesthetic failure. In order to grasp the close, yet delicate, relationship between the image of death and the death of the image, as presented in the plays of Beckett and Genet, we will explore how the characters’ creative processes deflate the very images — both visual and auditory — that they create. More specifically, we will examine how mimesis both liberates and confines the characters; while the symbolic realm provides the only means of self-representation, it is also a source of profound alienation and powerlessness, for it never adequately conveys meaning. Thus, body, gesture, language and voice are each the site of simultaneous and ceaseless reappearance and disappearance, for which death remains the only (aporetic) cure. Struggling against theatrical form, which demands the actors’ and the audience’s physical presence, both playwrights make shrewd use of metatheatre to slowly empty the stage and thereby suggest the impending, yet impossible, erasure of their characters.

A Self-Organizing Multiple-View Representation of 3D Objects

We explore representation of 3D objects in which several distinct 2D views are stored for each object. We demonstrate the ability of a two-layer network of thresholded summation units to support such representations. Using unsupervised Hebbian relaxation, we trained the network to recognise ten objects from different viewpoints. The training process led to the emergence of compact representations of the specific input views. When tested on novel views of the same objects, the network exhibited a substantial generalisation capability. In simulated psychophysical experiments, the network's behavior was qualitatively similar to that of human subjects.

A Self-Organizing Neural Network for Learning a Body-Centered Invariant Representation of 3-D Target Position

This paper describes a self-organizing neural network that rapidly learns a body-centered representation of 3-D target positions. This representation remains invariant under head and eye movements, and is a key component of sensory-motor systems for producing motor equivalent reaches to targets (Bullock, Grossberg, and Guenther, 1993).

(Re)writing the other/self : autoethnography in the transcultural arena of representation

Abstract: In Imperial Eyes Mary Louise Pratt (1992: 7, emphasis original) defines autoethnography as "instances in which colonized subjects undertake to represent themselves in ways that engage with the colonizer's own terms ... in response to or in dialogue with . . . metropolitan representations." Although Pratt's conceptualization of autoethnography has much to offer post-colonial studies, it has received little attention in the field. In this thesis, I interrogate Pratt's notion of autoethnography as a theoretical tool for understanding the self-representations of subordinate peoples within transcultural terrains of signification. I argue that autoethnography is a concept that allows us to move beyond some theoretical dualisms, and to recognize the (necessary) coexistence of subordinate peoples' simultaneous accommodation of and resistance to dominant representations of themselves. I suggest that even when autoethnographic expressions seem to rely on or to reproduce dominant knowledges, their very existence as speech acts implicitly resists dominant discourses which objectify members of oppressed populations and re-create them as Native Informants. I use Pratt's concept to analyze two books by Islamic feminist sociologist Fatima Memissi. Memissi's Dreams ofTrespass and Scheherazade Goes West illustrate the simultaneity of accommodation and disruption evident in autoethnographic communication. Across the two books, Memissi shows herself renegotiating the discourses which discipline her (and her speech). She switches back and forth between the positions of reader and author, demonstrates the reciprocity of the disciplinary gaze (she looks back at her dominants, reading their own reading of her representation of her social group), and provides a model of autoethnographic dialogue.