Scenic Design of James and the Giant Peach

The purpose of this thesis is to provide research, supporting paperwork, production photographs and other materials that document the scenic design process for James and the Giant Peach at Adventure Theatre MTC. This thesis contains the following: concept statement, scenic research images collected to express location, and the emotional/ intellectual/ psychological landscapes for the production, preliminary sketches, photographs of the ¼” scale model, drafting plates and supporting paint elevations to communicate the design, prop list and accompanying research, archival production photographs to document the completed design, and finally periodical reviews of the show.

O projeto museográfico da exposição Cartografia de uma história - São Paulo colonial: mapas e relatos

Este artigo apresenta o projeto museográfico da exposição Cartografia de uma história, inaugurada no Museu Paulista da Universidade de São Paulo em março de 2005. O projeto museográfico foi concebido e elaborado a partir do diálogo entre as propostas da equipe de pesquisa e os dados do perfil dos visitantes do Museu, constituindo-se assim um trabalho integrado, que buscava tratar de forma lúdica o ato de descobrir.

Cenografia virtual em televisão: relatório de estágio

Relatório de Estágio submetido à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Teatro - especialização em Design de Cena.

Para uma dramaturgia da voz e do silêncio: dissertação

Dissertação submetida à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Teatro - Encenação

Evolving Distributed Algorithms with Genetic Programming

Distributed systems are one of the most vital components of the economy. The most prominent example is probably the internet, a constituent element of our knowledge society. During the recent years, the number of novel network types has steadily increased. Amongst others, sensor networks, distributed systems composed of tiny computational devices with scarce resources, have emerged. The further development and heterogeneous connection of such systems imposes new requirements on the software development process. Mobile and wireless networks, for instance, have to organize themselves autonomously and must be able to react to changes in the environment and to failing nodes alike. Researching new approaches for the design of distributed algorithms may lead to methods with which these requirements can be met efficiently. In this thesis, one such method is developed, tested, and discussed in respect of its practical utility. Our new design approach for distributed algorithms is based on Genetic Programming, a member of the family of evolutionary algorithms. Evolutionary algorithms are metaheuristic optimization methods which copy principles from natural evolution. They use a population of solution candidates which they try to refine step by step in order to attain optimal values for predefined objective functions. The synthesis of an algorithm with our approach starts with an analysis step in which the wanted global behavior of the distributed system is specified. From this specification, objective functions are derived which steer a Genetic Programming process where the solution candidates are distributed programs. The objective functions rate how close these programs approximate the goal behavior in multiple randomized network simulations. The evolutionary process step by step selects the most promising solution candidates and modifies and combines them with mutation and crossover operators. This way, a description of the global behavior of a distributed system is translated automatically to programs which, if executed locally on the nodes of the system, exhibit this behavior. In our work, we test six different ways for representing distributed programs, comprising adaptations and extensions of well-known Genetic Programming methods (SGP, eSGP, and LGP), one bio-inspired approach (Fraglets), and two new program representations called Rule-based Genetic Programming (RBGP, eRBGP) designed by us. We breed programs in these representations for three well-known example problems in distributed systems: election algorithms, the distributed mutual exclusion at a critical section, and the distributed computation of the greatest common divisor of a set of numbers. Synthesizing distributed programs the evolutionary way does not necessarily lead to the envisaged results. In a detailed analysis, we discuss the problematic features which make this form of Genetic Programming particularly hard. The two Rule-based Genetic Programming approaches have been developed especially in order to mitigate these difficulties. In our experiments, at least one of them (eRBGP) turned out to be a very efficient approach and in most cases, was superior to the other representations.

Práticas de organizar na indústria criativa: a produção de um espetáculo de teatro musical em São Paulo - SP

Esta tese tem por objetivo compreender as práticas e ações de organizar necessárias à produção/organização de um espetáculo de teatro musical em São Paulo, a fim de explorar como as relações e articulações materialmente heterogêneas o sustentam e permitem suas apresentações. O foco nas práticas está alinhado à preocupação dos Estudos Organizacionais (EO) acerca de como “as organizações acontecem”, e na compreensão dos processos e práticas de organizar do cotidiano organizacional, remetendo ao entendimento das organizações como processos (organising) em constante estado de (re)constituição. O campo das indústrias criativas apresenta ainda lacunas pouco exploradas, referentes aos bens e serviços criativos. Seu foco de estudos está mais voltado para o consumo de tais bens e poucas pesquisas dedicam-se à sua produção e/ou organização. A própria noção de criatividade é entendida apenas como um atributo humano, talento ou habilidade, sem se enfatizar que alguns bens e serviços criativos e culturais apenas são possíveis a partir das relações e ações entre humanos e não-humanos. Na literatura organizacional, o teatro é amplamente estudado como uma metáfora ou como uma ferramenta de intervenção em processos de mudança ou aprendizado, sendo ainda raros estudos dedicados a explorar um espetáculo teatral como forma particular de organização. O teatro musical, inserido nas indústrias criativas, parece se consolidar no Brasil, principalmente pelo aumento de montagens de grandes musicais oriundos da Broadway, NYC, EUA, e sua crescente profissionalização, sobretudo na última década e, especialmente, na cidade de São Paulo, SP. Sua produção difere de outros gêneros teatrais pelo número de profissionais, investimentos e presença da tecnologia evidenciada em seus projetos de som, luz, cenografia e gestão de palco, tornando-o um campo fértil para a exploração sobre como atores se reúnem e formam o espetáculo visível (visto pelo público no palco) e o invisível (oculto nos bastidores). Sobre tal aspecto, a Teoria Ator-Rede (TAR), aqui utilizada como referencial teórico-metodológico, fornece um repertório analítico para a compreensão da organização como efeito de uma rede heterogênea de elementos, com uma estabilidade temporariamente alcançada. Para concretizar meu objetivo de explorar a organização de um musical, realizei uma pesquisa qualitativa, com inspiração etnográfica, na qual permaneci em campo durante dez meses junto a uma companhia cujo espetáculo esteve em cartaz em São Paulo entre os anos de 2013 e 2014. Descrevo, assim, como ocorreram as associações a articulações entre atores humanos e não-humanos, permeadas por esforços no sentido de gerar uma estabilização, um ordenamento, mesmo que precário, o qual é aqui entendido o musical (macro-ator ou rede-de-atores) em si e suas mais de trezentas apresentações durante a temporada, resultantes de ações em contínua (re)constituição. Negociações referentes a aquisições de direitos autorais, aspectos particulares da língua portuguesa, do público brasileiro, dos corpos e vozes do elenco brasileiro, as restrições estruturais do teatro, a produção de documentos, a marcação na sala de ensaios, a união do espetáculo via sistemas de som e imagem, a aquisição de equipamentos específicos e o sistema que permite “chamar o show” durante a apresentação são alguns dos temas que exploro. Com esta pesquisa, busquei assimilar o crescente interesse dos EO em relação organising e algumas das possibilidades oferecidas pela TAR quanto à multiplicidade e heterogeneidade inerentes às práticas organizativas, com o intuito de enriquecer a discussão acerca da organização e produção de bens e serviços criativos, destacando como a organização “espetáculo de teatro musical” é múltipla e materialmente heterogênea, e não apenas uma ideia exclusiva à ação humana ou criatividade como insumo de produção, tal como apregoa a maior parte das descrições referentes às indústrias criativas.

James Bond will return: der serielle Charakter der James Bond-Filme

Die James Bond-Filme: seit über 40 Jahren sind sie ein unübersehbarer Bestandteil der Populärkultur. Anfang der 60er Jahre unter völlig anderen historischen, sozialen und nicht zuletzt filmtechnischen Voraussetzungen aus der Taufe gehoben, gelingt es ihnen auch heute noch, ein Massenpublikum für sich zu gewinnen. Inwiefern kann man bei einer so langen Laufzeit überhaupt noch von einer homogenen Serie sprechen? Und was für Gemeinsamkeiten, Unterschiede und auch Weiterentwicklungen von der ursprünglichen Machart sind hier zu beobachten? Dies sind die Grundfragen der vorliegenden Dissertation. Bei der Benennung der seriellen Eigenschaften werden sowohl inhaltliche als auch dramaturgische und filmtechnisch-formale Aspekte betrachtet. Die Figurenkonstellation von Held, Gegenspieler und der weiblichen Hauptfigur, die zwischen den beiden steht und häufig die Seiten wechselt, ist ein Schema das - kaum variiert - schon in den Romanvorlagen Ian Flemings zum Einsatz kam und auch das Rückgrat der Film-Plots bildet. Dennoch ließ dieses Gerüst den mittlerweile fünf verschiedenen Darstellern, die James Bond nacheinander verkörperten, genügend Freiraum für das Ausarbeiten eines eigenen Rollenkonzepts, das auf ihren speziellen Schauspielstil ausgerichtet war. Dadurch erhielt die James Bond-Figur jeweils eine Neuinterpretation, die sich insbesondere in ihrem sozialen Habitus bemerkbar macht, der je nach Darsteller zwischen provokantem Aufsteigertyp und aristokratischem Gentleman changierte. Zum unverwechselbaren Erkennungsmerkmal der Bond-Serie avancierte die so genannte 'gun-barrel'-Sequenz, die in den ersten Sekunden jedes Films abläuft. Auch die sich anschließende Vortitelsequenz, eine auf Spannung oder Action angelegte Szene, die einen Vorgeschmack auf den folgenden Film liefern soll, ist ein Element, das der Machart von Fernsehserien entnommen ist. Neben diesen bewusst eingesetzten Markenzeichen lässt sich auch in der Gestaltungsweise der Filme - in Kameraführung, Schnitt, Musik und Set Design - eine stilistische Kontinuität feststellen, die insbesondere dadurch bedingt ist, dass die Serie seit jeher von den Produzenten ähnlich wie ein Familienunternehmen geführt wurde und - zumindest bis Ende der 80er Jahre - auch die kreativen Köpfe der Filme konsequent im eigenen Team ausgebildet wurden.

Shading Silhouettes of Smaller Ones

I am truly honored to have been given the amazing opportunity to create this original piece, this powerful journey through memory and emotive exploration of the loss of childhood. How do we feel about the loss of our child-self? Could we ever get them back? How long, how deep would one have to dig in the graveyards, the playgrounds of memory, to uncover what was buried there... to un-erase what waserased? shading silhouettes of smaller ones will ultimately encourage a reconnection with the Inner Child hidden inside all of us, as well as an intimate awareness of the adult version of the self by looking back to the smaller ones. The main inspiration for this piece is then of course, Inner Child Work. Most people may not be familiar with this therapeutic exploration of childhood... It wasimportant to me then, to present this concept in an imaginative, theatrical way, as a gift to you - a comprehensive and intensely moving gift. Speaking from experience, working on my Inner Child - my little Bianca - has been the most painful, frightening, yetrewarding and powerful experience within my personal life. Some people spend their entire lives trying to love themselves, to prove themselves, or be accepted. Some are too afraid to look back to where it all began. The characters within this piece will face thatfear... in a regression from the complexities of adulthood to the confusion of adolescence, all the way back to the wonder and bliss of childhood. They will reveal memories, of both joy and pain, love and abandonment, journeying backwards through time - through memory - through a playground - back to the beginning... We will enter a world where a push of a merry-go-round spins us to games of Truth or Dare after a high school dance at 16 - or the slam of a metal fence reminds us of the door Dad slammed in our face at 9 - where the sound of chain links swings us back to scrapping our knee by the sandbox at 5 This piece will attempt to connect everyone, both cast and audience, through a universal understanding and discussion of what it means to grow up, as well as a discovery of WHY we are the way we are - how experiences or relationships from our childhood have shaped our adult lives. We will attempt to challenge your honesty and nerve by inviting you to ask questions of yourselves, your past - to remember what it's like to have the innocence and hope of a child, to engage with and discover your Inner Child, to realize when or why you left them behind, and if you want to this magical part of yourself. It is my hope that you will join us in a collective journey - gather the courage to dig up the little kid you buried so long ago...* The creation, design, choreography, and direction for shading silhouettes of smaller ones mark the culminating experience of a year-long independent study in Theatre.

Motion Planning and Controls with Safety and Temporal Constraints

Motion planning, or trajectory planning, commonly refers to a process of converting high-level task specifications into low-level control commands that can be executed on the system of interest. For different applications, the system will be different. It can be an autonomous vehicle, an Unmanned Aerial Vehicle(UAV), a humanoid robot, or an industrial robotic arm. As human machine interaction is essential in many of these systems, safety is fundamental and crucial. Many of the applications also involve performing a task in an optimal manner within a given time constraint. Therefore, in this thesis, we focus on two aspects of the motion planning problem. One is the verification and synthesis of the safe controls for autonomous ground and air vehicles in collision avoidance scenarios. The other part focuses on the high-level planning for the autonomous vehicles with the timed temporal constraints. In the first aspect of our work, we first propose a verification method to prove the safety and robustness of a path planner and the path following controls based on reachable sets. We demonstrate the method on quadrotor and automobile applications. Secondly, we propose a reachable set based collision avoidance algorithm for UAVs. Instead of the traditional approaches of collision avoidance between trajectories, we propose a collision avoidance scheme based on reachable sets and tubes. We then formulate the problem as a convex optimization problem seeking control set design for the aircraft to avoid collision. We apply our approach to collision avoidance scenarios of quadrotors and fixed-wing aircraft. In the second aspect of our work, we address the high level planning problems with timed temporal logic constraints. Firstly, we present an optimization based method for path planning of a mobile robot subject to timed temporal constraints, in a dynamic environment. Temporal logic (TL) can address very complex task specifications such as safety, coverage, motion sequencing etc. We use metric temporal logic (MTL) to encode the task specifications with timing constraints. We then translate the MTL formulae into mixed integer linear constraints and solve the associated optimization problem using a mixed integer linear program solver. We have applied our approach on several case studies in complex dynamical environments subjected to timed temporal specifications. Secondly, we also present a timed automaton based method for planning under the given timed temporal logic specifications. We use metric interval temporal logic (MITL), a member of the MTL family, to represent the task specification, and provide a constructive way to generate a timed automaton and methods to look for accepting runs on the automaton to find an optimal motion (or path) sequence for the robot to complete the task.

Universal Set-top Box: A Simple Design to Provide Accessible Services

This paper presents the design of a low cost accessible digital television set-top box. This set-top box was designed and tested to the International ISDB-T system and considered the adoption of solutions that would provide accessible services in digital television in the simplest digital television receiver. The accessible set-top box was evaluated regarding the processing and memory requirements impacts to provide the features for accessible services. The work presents also the access services bandwidth consumption analysis(1).

Design of a Takagi-Sugeno Fuzzy Regulator for a Set of Operation Points

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Operator, organizational, intermediate (field), (direct support and general support), and depot level maintenance manual : generator set, tactical, gasoline engine, air cooled, 5 KW, AC, 120/240V single phase, 120/208V 3 phase, skid mounted, tubular frame (less engine) military design ; DoD model MEP-017A, MEP-022A, class utility ... 6115-00-017-8241.

"December 1977."

Direct support and general support maintenance repair parts and special tools list (including depot maintenance repair parts) : generator set, self-powered, diesel engine driven, 30 KW. AC, 3-phase, 120/208V, 240/416V, 60 hertz, convertible to 25 KW, 50 hertz, skid mounted (Military Design model SF-30-MD/CIED), NSN 6115-00-935-5111.

"April 1978."