Treewidth: theory and applications to computer science

This report is an introduction to the concept of treewidth, a property of graphs that has important implications in algorithms. Some basic concepts of graph theory are presented in the first chapter for those readers that are not familiar with the notation. In Chapter 2, the definition of treewidth and some different ways of characterizing it are explained. The last two chapters focus on the algorithmic implications of treewidth, which are very relevant in Computer Science. An algorithm to compute the treewidth of a graph is presented and its result can be later applied to many other problems in graph theory, like those introduced in the last chapter.

Learning to perceive in the sensor motor approach: Piaget's theory of equilibration interpreted dynamically

Learning to perceive is faced with a classical paradox: if understanding is required for perception, how can we learn to perceive something new, something we do not yet understand? According to the sensorimotor approach, perception involves mastery of regular sensorimotor co-variations that depend on the agent and the environment, also known as the "laws" of sensorimotor contingencies (SMCs). In this sense, perception involves enacting relevant sensorimotor skills in each situation. It is important for this proposal that such skills can be learned and refined with experience and yet up to this date, the sensorimotor approach has had no explicit theory of perceptual learning. The situation is made more complex if we acknowledge the open-ended nature of human learning. In this paper we propose Piaget's theory of equilibration as a potential candidate to fulfill this role. This theory highlights the importance of intrinsic sensorimotor norms, in terms of the closure of sensorimotor schemes. It also explains how the equilibration of a sensorimotor organization faced with novelty or breakdowns proceeds by re-shaping pre-existing structures in coupling with dynamical regularities of the world. This way learning to perceive is guided by the equilibration of emerging forms of skillful coping with the world. We demonstrate the compatibility between Piaget's theory and the sensorimotor approach by providing a dynamical formalization of equilibration to give an explicit micro-genetic account of sensorimotor learning and, by extension, of how we learn to perceive. This allows us to draw important lessons in the form of general principles for open-ended sensorimotor learning, including the need for an intrinsic normative evaluation by the agent itself. We also explore implications of our micro-genetic account at the personal level.

Spectroscopic properties and Judd-Ofelt theory analysis of Dy3+ doped oxyfluoride silicate glass

Dy3+ doped oxyfluoride silicate glass was prepared and its optical absorption, 1.3 mu m emission, and upconversion luminescence properties were studied. Furthermore, the Judd-Ofelt [Phys. Rev. 127, 750 (1962); J. Chem. Phys. 37, 511 (1962)] intensity parameters, oscillator strengths, spontaneous transition probability, fluorescence branching ratio and radiative lifetime were calculated by Judd-Ofelt theory, while stimulated emission cross section of H-6(9/2)+F-6(11/2)-> H-6(15/2) transition was calculated by McCumber theory [Phys. Rev. A. 134, 299 (1964)]. According to the obtained Judd-Ofelt intensity parameters Omega(2)=2.69x10(-20) cm(2), Omega(4)=1.64x10(-20) cm(2), and Omega(6)=1.64x10(-20) cm(2), the radiative lifetime was calculated to be 810 mu s for 1.3 mu m emission, whose full width at half maximum and sigma(e) were 115 nm and 2.21x10(-20)cm(2), respectively. In addition, near infrared to visible upconversion luminescence was observed and evaluated. The results suggest that Dy3+ doped oxyfluoride silicate glass can be used as potential host material for developing broadband optical amplifiers and laser applications.

An enactive and dynamical systems theory account of dyadic relationships

Many social relationships are a locus of struggle and suffering, either at the individual or interactional level. In this paper we explore why this is the case and suggest a modeling approach for dyadic interactions and the well-being of the participants. To this end we bring together an enactive approach to self with dynamical systems theory. Our basic assumption is that the quality of any social interaction or relationship fundamentally depends on the nature and constitution of the individuals engaged in these interactions. From an enactive perspective the self is conceived as an embodied and socially enacted autonomous system striving to maintain an identity. This striving involves a basic two-fold goal: the ability to exist as an individual in one's own right, while also being open to and affected by others. In terms of dynamical systems theory one can thus consider the individual self as a self-other organized system represented by a phase space spanned by the dimensions of distinction and participation, where attractors can be defined. Based on two everyday examples of dyadic relationship we propose a simple model of relationship dynamics, in which struggle or well-being in the dyad is analyzed in terms of movements of dyadic states that are in tension or in harmony with individually developed attractors. Our model predicts that relationships can be sustained when the dyad develops a new joint attractor toward which dyadic states tend to move, and well-being when this attractor is in balance with the individuals' attractors. We outline how this can inspire research on psychotherapy. The psychotherapy process itself provides a setting that supports clients to become aware how they fare with regards to the two-fold norm of distinction and participation and develop, through active engagement between client (or couple) and therapist, strategies to co-negotiate their self-organization.

Foto-assemblage

FOTO-ASSEMBLAGE consiste em nomenclatura sugestionada para definir os trabalhos que tenho produzido a partir da junção de fotografias digitais. As elaborações e fundamentações desses trabalhos representam também o cerne das pesquisas que resultaram na presente dissertação. Em princípio, o termo foto-assemblage haveria de referir-se a questões técnicas ou formais dessa prática. Contudo, ao desenvolver as pesquisas alguns procedimentos acabaram por determinar certas nuances que revelaram aspectos comuns também em seus e conteúdos. Como resultado de construções artísticas juntando fotografias desde 2009, cheguei às composições sintéticas aqui apresentadas, construídas a partir de duas fotografias. Aventei o nome foto-assemblage por observar nas imagens resultantes ressalvas que as distinguiriam de certas convenções atribuídas à ideia de fotografia. Ao mesmo tempo, as referidas imagens proporiam um possível desdobramento ao entendimento de assemblage enquanto técnica artística. Ainda que não seja uma regra, fotografias revelam imagens de momentos. Em sua relação com a compreensão humana de tempo ou espaço, fotografias quase sempre contêm instâncias mínimas. Fotografias, contudo, podem ser também compreendidas como uma contração de um percurso de tempo. Toda imagem fotográfica pode ser assimilada como resultante de determinados acontecimentos anteriores e mesmo tida como elemento gerador de conseqüências futuras. Seguindo esse entendimento, o que proponho com a foto-assemblage é que essa lide com segmentos de tempo ou de espaço contidos numa mesma imagem. Essas fotografias originárias ganhariam uma nova atribuição, sendo retiradas de seu contexto original, serviriam de balizas do percurso de tempo ou espaço suprimido e subjetivado entre elas. Poeticamente, eventos ocorridos entre as fotografias originárias estariam contidos nas imagens produzidas. O termo assemblage foi incorporado às artes a partir de 1953, por Jean Dubuffet, para descrever trabalhos que seriam algo mais do que simples colagem. A ideia de assemblage se baseia no princípio de que todo e qualquer material ou objeto colhido de nosso mundo cotidiano pode ser incorporado a uma obra de arte, criando um novo conjunto, sem que perca seu sentido original. Esse objeto é arrancado de seu uso habitual e inserido num novo contexto, tecendo laços de relação com os demais elementos, construindo narrativas num novo ambiente, o da obra. Na ideia da foto-assemblage, entretanto, é sugerido uso das imagens fotográficas originárias não como objetos que estariam em um mundo cotidiano, mas sim como imagem na concepção do que seria uma entidade mental. Adoto como que uma visão mágica onde as imagens originárias e básicas estariam numa outra dimensão, num plano bidimensional, não manipulável por nós habitantes da tridimensionalidade. Nesse ambiente imaginário ou não, as fotografias são assentadas consolidando a foto-assemblage. Quando a foto-assemblage se concretiza, se corporifica numa mídia, sendo impressa para uma contemplação, ai então, passaria a integrar nosso mundo tridimensional. O resultado poderia ser admitido como um híbrido, uma terceira coisa, a partir de duas que já não se dissociam mais no ensejo de uma compreensão estética. Ao final da dissertação, apresento experiências práticas que resultaram em quatro séries de imagens em foto-assemblage. Cada série enfatiza aspectos peculiares do que denomino paisagem expandida, representando percursos de tempo, espaço ou trajetos entre o mundo concreto e mundos do inconsciente.

Density-potential mapping in the standard and quantum electrodynamical time-dependent density functional theory

131 p.