Dissertations / Theses on the topic 'Matériel moderne'

Différents processus taphonomiques peuvent modifier la coloration et la texture des ossements fossiles chauffés rendant difficile leur identification en contexte archéologique. Au cours de cette étude, la spectroscopie infrarouge à transformée de Fourier (IR-TF) a été utilisée pour caractériser les modifications de la composition des os durant la chauffe. L’étude d’un domaine particulier du spectre infrarouge (massif ν1ν3PO4) d’échantillons modernes chauffés expérimentalement, a servi à définir des marqueurs minéralogiques permettant d’évaluer la cristallinité et la perfection de la structure cristalline des os chauffés. Le protocole analytique ainsi mis en place a ensuite été appliqué à du matériel archéologique et a permis d’identifier les ossements chauffés dès 250°C pour du matériel fossile provenant de niveaux magdaléniens (vieux de 15 000 ans), et l’établissement d’indicateurs de l’état d’altération de la phase minérale des ossements fossiles non chauffés<br>Several taphonomic processes can modify the color and the texture of burnt bones making their identification difficult in archaeological contextes. In the present study, Fourier Transform Infrared Spectrometry (FTIR) was applied to characterize the modifications induced on bones by heating. Particularly, the analysis of a specific domain of the infrared spectrum (ν1ν3PO4 domain) of modern bones experimentally heated was used to define mineralogical proxies that ensure the evaluation of both crystallinity and crystal lattice perfection. The developed analytical protocol was then applied on archaeological material and has allowed the identification of bones heated from 250°C for archaeological samples carried out from Magdalenian layers (15 000 years old) and the establishment of new parameters for the evaluation of the alteration state of fossil bone mineral

La recherche de similarité de séries de données est une opération essentielle pour plusieurs applications dans de nombreux domaines. Cependant, les techniques de pointe ne parviennent pas à fournir les performances temporelles requises, que ce soit pour réaliser une exploration interactive des séries de données, ou simplement une analyse de grandes collections de données. Au cours de ma thèse, nous présentons les premières solutions d'indexation de séries de données conçues pour tirer parti intrinsèquement du matériel moderne, afin d'accélérer les temps de traitement de la recherche de similarité pour les données sur disque et en mémoire. En particulier, nous développons de nouveaux algorithmes utilisant les architectures SIMD (multi-core, multi-socket et Single Instruction Multiple Data), ainsi que des algorithmes adaptés pour l’utilisation des unités de traitement graphique (GPU). Nos expériences réalisées sur un panel de données synthétiques et réelles démontrent que nos approches sont d’ordres de grandeur plus rapides que les solutions de pointe utilisant les données enregistrées sur disque et en mémoire. Plus précisément, notre solution sur disque peut répondre à des requêtes de recherche de similitude exacte sur des ensembles de données de 100 Go en 15 secondes, et pour notre solution en mémoire en moins de 36 millisecondes, ce qui permet pour la première fois une exploration interactive de données en temps réel sur des grandes collections de séries de données<br>Data series similarity search is a core operation for several data series analysis applications across many different domains. However, the state-of-the-art techniques fail to deliver the time performance required for interactive exploration, or analysis of large data series collections. In this Ph.D. work, we present the first data series indexing solutions that are designed to inherently take advantage of modern hardware, in order to accelerate similarity search processing times for both on-disk and in-memory data. In particular, we develop novel algorithms for multi-core, multi-socket, and Single Instruction Multiple Data (SIMD) architectures, as well as algorithms for Graphics Processing Units (GPUs). Our experiments on a variety of synthetic and real data demonstrate that our approaches are up to orders of magnitude faster than the state-of-the-art solutions for both disk-resident and in-memory data. More specifically, our on-disk solution can answer exact similarity search queries on 100GB datasets in ∼ 15 seconds, and our in-memory solution in as low as 36 milliseconds, which enables for the first time real-time, interactive data exploration on very large data series collections

Orientador : Fatima Regina Rodrigues Evora<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas<br>Made available in DSpace on 2018-08-17T23:56:45Z (GMT). No. of bitstreams: 1 Moschetti_Marcelo_D.pdf: 1071583 bytes, checksum: f3b9175acce31ce1e2539b5d4f9f78be (MD5) Previous issue date: 2011<br>Resumo: A conhecida passagem do Ensaiador (1623) sobre a linguagem geométrica da natureza pode ser considerada uma síntese do projeto galileano: dirigir-se à natureza sem conhecer essa linguagem é um inútil vaguear em um obscuro labirinto. Na defesa da necessidade do uso da geometria na filosofia natural, destaca-se o problema da tese tradicional da heterogeneidade entre a exatidão matemática e a matéria imperfeita. Para resolvê-lo (e para recusar essa heterogeneidade), o autor mostra que só a geometria permite a superação das dificuldades relacionadas com o contínuo. Tal discussão é assunto dos Discursos sobre as duas novas ciências (1638). Tanto o atomismo incomum presente na obra quanto as novidades referentes ao estudo do movimento dependem do tratamento geométrico dado ao problema do contínuo. Por outro lado, a tensão entre a exatidão matemática e a imprecisão dos dados da experiência, que é responsável por parte das controvérsias interpretativas que envolvem Galileu, é fundamental para que se compreenda sua proposta de uma nova física<br>Abstract: The well-known quotation of The Assayer (1623) concerning the geometrical language of nature can be taken as a synthesis of galileo's project: turning to nature without knowing that language is an useless errantry on a dark labyrinth. The problem of the traditional thesis on the heterogeneity of mathematical exactness and the imperfection of matter is highlighted by Galileo in his defense of the necessity of using Geometry in Natural Philosophy. For solving it (and for refusing the heterogeneity), the author shows that only Geometry makes it possible to overcome the difficulties related to the continuum. This discussion is present in his Discourses concerning the two new sciences (1638). Both the uncommon atomism found in the book and the news related to the study of movement rely on the geometrical approach on the problem of the continuum. Otherwise, the tension between mathematical exactness and the lack of accuracy of the data from experience, wich causes controversies concerning Galileo, is fundamental for understanding his proposal of a new Physics<br>Doutorado<br>Historia da Filosofia<br>Doutor em Filosofia

Mestrado em Criação Artística Contemporânea<br>O objectivo deste trabalho de investigação é relacionar a arte com a sociedade, utilizando o lixo como inspiração artística. Seguindo aquilo que já foi feito por outros artistas, descobrir uma forma inovadora de criar uma obra de arte pública de intervenção comunitária. O projeto lança um desafio a todos os cidadãos Estarrejenses, para que juntos possam experimentar arte ambiental no seu Município. Este trabalho relaciona obras e artigos de diferentes autores, tais como: Vik Muniz com o seu projeto Wast Land projeto, documentário/filme; Rosalyn Deutsche e José Regatão que exploram o conceito de arte pública; Joseph Beuys um artista conceptual, que vê a arte como uma terapia social; Também conceitos, como arte ecológica, arte e sociedade, arte pública comunitária, são alguns exemplos dos conceitos e temas explorados e questionados ao longo de toda a investigação.<br>The aim of this study is to relate art and society, through the use of waste as an artistic inspiration. Regarding on what has been done by other artists, the purpose is to find an innovative form to create a piece of public art with the mediation and intervention of the community. This project had set a challenge to population of Estarreja (city). In which as a group, the citizens, had the experience of environmental community public art on their own city, with their participation on the make and release of (name of the piece or name of the event). This work relates artworks and publications from various authors, such as: Vik Muniz on Waste Land project/documentary/film; Rosalyn Deutsche and José Regatão on exploring the public art concept; Joseph Beuys, a conceptual artist and thinker, that envisioned art as a social therapy; also concepts, such as Eco art, art and society, and community public art, were explored in this research.

La thèse traite de la question du renouvellement formel de l’architecture du XXe siècle grâce à l’utilisation du lamellé collé, de ses capacités techniques, formelles et esthétiques. Ce matériau traditionnel qui renvoie à l’artisanat et à des architectures domestiques, devient un matériau industriel avec le lamellé collé. Pendant la période de la Reconstruction et des Trente Glorieuses, cette technique du lamellé collé signe le renouveau de la construction en bois, de la charpente et de sa visibilité grâce à ses capacités techniques et esthétiques<br>The thesis deals with the question of the formal renewal of 20th century architecture through the use of glulam, its technical, formal and aesthetic capabilities. This traditional material, which refers to craftsmanship and domestic architecture, becomes an industrial material with glued laminate. During the period of the Reconstruction and the Thirty Glories, this technique of glulam indicates the revival of the wood construction, the frame and its visibility thanks to its technical and aesthetic abilities

Os conceitos presentes na Física Moderna e Contemporânea (FMC), como aqueles relacionados à estrutura da matéria, rompem com ideias do cotidiano e envolvem fenômenos e entidades que são parte de uma realidade tecnicamente construída e não podem ser percebidos de forma direta pelos sentidos humanos. Seu ensino requer meios representativos, e as simulações computacionais atendem a esta necessidade. Nesta pesquisa, tendo como marco teórico ideias relacionadas ao estudo dos modelos mentais e conceituais, ideias provenientes da epistemologia da ciência de Bachelard, e considerando algumas ideias presentes na teoria das situações didáticas de Brousseau, buscamos identificar obstáculos de aprendizagem que atuam no ensino de conceitos do tópico Estrutura da Matéria em que são utilizadas simulações computacionais. Tendo como pano de fundo um processo iterativo de desenho, implementação e redesenho de um curso sobre a estrutura da matéria e aceleradores de partículas, analisamos a emersão de possíveis obstáculos epistemológicos, e verificamos como obstáculos didático-pedagógicos facilitavam esta emersão. Como resultados, identificamos obstáculos epistemológicos e didático-pedagógicos de diferentes naturezas, entre os quais, alguns relacionados à percepção ingênua de fenômenos do cotidiano, alguns relacionados ao uso de metáforas e imagens, e outros relacionados a um raciocínio limitado e incongruente. Acreditamos que as análises e conclusões desta pesquisa contribuem para uma reflexão sobre o ensino de tópicos de Física Moderna e Contemporânea, e sobre o uso de simulações computacionais como ferramentas pedagógicas.<br>The concepts of Modern and Contemporary Physics (MCP), such as those related to the structure of matter, break with the everyday ideas and involve phenomena and entities that are part of a reality technically built that cannot be directly perceived by human senses. Its teaching requires representative media, and the computer simulations meet this need. In this research, having as theoretical framework ideas related to the study of mental and conceptual models, ideas from the epistemology of science of Bachelard, and considering some of the ideas present in the theory of didactic situations of Brousseau, we seek to identify learning obstacles who work in teaching concepts of the topic Structure of Matter in which computer simulations are used. Against the backdrop of an iterative process of design, implementing and redesign of a course on the structure of matter and particle accelerators, we analyze the possible emergence of epistemological obstacles, and check how didactic-pedagogical obstacles facilitated this emersion. As a result, we identified epistemological obstacles and didactic-pedagogical obstacles of different nature, including some related to the naive perception of everyday phenomena, some related to the use of metaphors and images, and other related to a limited reasoning and incongruous. We believe that the analysis and conclusions of this research contribute to a reflection on the teaching of Modern and Contemporary Physics topics, and on the use of computer simulations as educational tools.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-05-19T11:24:55Z No. of bitstreams: 1 claytonantoniopereirapires.pdf: 7476754 bytes, checksum: 5904836fef5a98e9537e6bf20fae0dea (MD5)<br>Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-19T14:38:31Z (GMT) No. of bitstreams: 1 claytonantoniopereirapires.pdf: 7476754 bytes, checksum: 5904836fef5a98e9537e6bf20fae0dea (MD5)<br>Made available in DSpace on 2017-05-19T14:38:31Z (GMT). No. of bitstreams: 1 claytonantoniopereirapires.pdf: 7476754 bytes, checksum: 5904836fef5a98e9537e6bf20fae0dea (MD5) Previous issue date: 2017-02-13<br>Nesta dissertação apresentamos uma ação de ensino na qual tanto pesquisador quanto estudantes experimentam algo novo, tomando como referência as práticas do dia a dia escolar. O pesquisador, com sua atuação regular como professor de Física no Ensino Médio, se lança no desafio de apresentar a alunos do 9º ano de uma escola pública como os conhecimentos sobre a Luz podem ter aplicação abrangente e importante em nossas vidas. Tomando como referenciais teóricos principais a Teoria da Aprendizagem Significativa de David Ausubel, a teoria sócio-histórico-cultural de Levy Vygotsky, e as ideias libertadoras de Paulo Freire, bem como aportes da legislação vigente, foi desenvolvida neste trabalho uma sequência didática, abordando aspectos qualitativos sobre a natureza, propagação e interação da Luz com a matéria. Para o pesquisador, que vislumbrou novos rumos e concepções para sua ação como educador, e para os estudantes, que foram aguçados pelo conhecimento contextualizado e potencialmente significativo, agindo como parceiros efetivos em sua condição de educandos, essa atividade se mostrou altamente recompensadora. As seções em que a exposição de conteúdo com atividades experimentais, interatividade, além de aplicações tecnológicas e seus desdobramentos, foram discutidas e debatidas com curiosidade, entusiasmo e sede de conhecimento, tendo se mostrado bastante produtivas. A aplicação de questionário buscando perceber conhecimentos prévios dos alunos, as breves pesquisas desenvolvidas por estes para se sentirem inseridos no ambiente de investigação foram importantes para a elaboração da sequência didática. O produto educacional desenvolvido foi fruto da participação ativa dos estudantes, das importantes sugestões de colegas e de leitores críticos, e do entusiasmo do pesquisador por essa tão gratificante oportunidade pedagógica. O trabalho como um todo mostrou o quanto é importante buscarmos estratégias e metodologias alternativas de ensino, levando sempre em consideração as sugestões, os interesses, as curiosidades e os conhecimentos incorporados pelos educandos em seu cotidiano.<br>In this dissertation, we present a teaching action in which both researcher and students try to innovate, taking as reference their day-by-day school practices. The researcher, with a regular performance as a Physics teacher in High School, launches the challenge of presenting the ninth graders from a public school, the knowledge that Light concepts can have a comprehensive and important application in our lives. As main theoretical references, the teacher embraces David Ausubel’s theory of Significant Learning , Levy Vygotsky’s SocioHistorical-Cultural Theory , and Paulo Freire’s liberating ideas , as well as contributions of Brazilian educational current legislation.in this work, we developed a didactic sequence, addressing qualitative aspects about the nature, propagation and interaction of Light with matter. For the researcher, who envisioned new directions and conceptions for his action as an educator, and for the students who were sharpened by contextual and meaningful knowledge, acting as effective partners in their status as students, this activity was highly rewarding. The sections in which content exposition, with experimental activities, interactivity, in addition to technological applications and its developments, were discussed and debated with curiosity, enthusiasm and longing for knowledge, were quite productive. The application of a questionnaire, seeking to achieve previous knowledge of the students, the brief researches developed by them in order to feel inserted in the research environment, were important for the elaboration of the didactic sequence. The educational product developed was the result of the active participation of the students. The important suggestions of colleagues and critical readers, and the enthusiasm of the researcher were a very rewarding educational opportunity. The work as a whole showed how important it is to look for alternative teaching strategies and methodologies, always taking into consideration the suggestions, interests, curiosities and knowledge incorporated by students in their daily lives.

Defendo, nesta dissertação, uma interpretação materialista da filosofia humeana. Essa interpretação se apóia em alguns dos temas presentes no Livro 1 do Tratado da Natureza Humana. Divido a tarefa em três partes: no primeiro capítulo, examino dois dos princípios que fundamentam a teoria das idéias apresentada na Parte 1, o princípio da cópia e o da separabilidade. Juntos, eles implicam a impotência da razão a priori no domínio dos fatos. É a imaginação, uma faculdade corpórea, que assume o papel principal na epistemologia humeana; no segundo capítulo, examino a seção “Da imaterialidade da alma” (Parte 4, Seção 5), na qual a alma substancial desaparece e dá lugar a percepções causalmente relacionadas a um corpo. Aqui se evidencia a concepção fisicalista de Hume sobre o fenômeno cognitivo. Procuro esclarecer tal concepção por meio de uma comparação entre ela e a concepção de Reid, segundo a qual o fenômeno cognitivo é intrinsecamente imaterial e, portanto, sem qualquer relação causal com a matéria; o objeto do terceiro capítulo é a seção “Da identidade pessoal” (Parte 4, Seção 6), na qual Hume afirma que a crença nessa identidade decorre de associações de idéias. No Apêndice Hume reconhece a insuficiência de sua explicação inicial. Exponho alguns dos problemas que podem ter gerado as dúvidas do Apêndice e defendo que elas não configuram um possível abandono do materialismo, ou seja, da concepção ontológica que levou à tese de que a mente é um mero feixe de percepções relacionadas causalmente.<br>I defend, in this dissertation, a materialist interpretation of humean philosophy. This interpretation is based on some of the themes presented in Book 1 of the Treatise of Human Nature. The task is divided in three parts: in the first chapter, I examine two of the principles which ground the theory of ideas presented in Part 1, the principles of copy and of separability. Together, they imply the impotence of a priori reason in the factual domain. It is the imagination, a corporeal faculty, that assumes the leading role in humean epistemology; in the second chapter, I examine the section Of the immateriality of the soul (Part 4, Section 5), in which the substantial soul disappears and gives place to perceptions causally related to a body. Here, Hume’s phisicalist conception about the cognitive phenomena is evidenced. I try to explain this conception by comparing it to Reid’s conception, according to which cognitive phenomena is intrinsically imaterial and, therefore, without any causal relation to matter; the subject of the third chapter is the section “Of personal identity” (Part 4, Section 6), in which Hume states that the belief in this identity derives from associations of ideas. In the Appendix Hume recognizes the insufficiency of his early explanation. I expose some of the problems that may have engendered the doubts of the Appendix and defend that they don’t amount to a possible abandonment of materialism, that is, of the ontological conception which has led to the thesis of the mind as a simple bundle of perceptions causally related.

Made available in DSpace on 2016-01-13T13:26:56Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-03-02. Added 1 bitstream(s) on 2016-01-13T13:32:18Z : No. of bitstreams: 1 000852031.pdf: 4455029 bytes, checksum: f1678c46d5eec23dfeee4f1007f664cb (MD5)<br>A partir dos estudos desenvolvidos no grupo de pesquisa Ensino de Química, Investigação Orientada, Linguagens e Formação Docente, da Universidade Estadual Paulista Julio de Mesquita Filho - Unesp - campus de Bauru-SP, deste trabalho e dos referenciais teóricos utilizados, percebeu-se que grande parte dos professores do Ensino Médio o qual ministravam a disciplina de Física não abordavam o tema Estrutura da Matéria em suas aulas, seja no âmbito geral da disciplina ou na abordagem direta do Currículo do Estado de São Paulo para Ciências da Natureza. Apesar da abordagem direta do conteúdo (Estrutura da Matéria: modelos de átomos e moléculas, quantização da energia, radioatividade e partículas elementares), grande parte da construção destes conceitos, o qual compõem parte da física moderna e contemporânea, inicia-se na Filosofia ou na busca da superação da limitações que a abordagem clássica das ciências impõe. Acreditamos que o ensino de estrutura da Matéria depende diretamente da articulação realizada pelo professor entre os saberes clássicos e contemporâneos das ciências. Esta articulação, por sua vez, depende inteiramente das concepções formadas pelos professores acerca dos conceitos tratados, ou seja, de sua visão ontológica, epistemológica e conceitual do tema. Para tanto, convidamos professores que ministravam a disciplina de Física, no Ensino Médio da região de Bauru-SP, para construírem e discutirem tais conceitos em um curso de formação continuada realizada junto do grupo de pesquisas. Assim, buscou-se, inicialmente, construir com base na História, Filosofia e Filosofia da Ciência os conceitos subjacentes à Estrutura da Matéria, para em seguida realizar uma discussão crítica de sua articulação com o Currículo do Estado de São Paulo e dos fatores que limitavam as aulas que abordassem o tema. Posteriormente às discussões, realizamos um estudo conceitual dirigido e os...<br>From the studies developed in the research group Ensino de Química, Investigação Orientada, Linguagens e Formação Docente, ou Universidade Estadual Paulista Julio de Mesquita Filho - Unesp - campus of Bauru-SP, this work and theoretical frameworks used, it was noticed that most of the high school teachers who teach physics dis not point structure of matter, in their classes, either within the direct approach of the State of São Paulo Curriculum for Natural Sciences. Although, a direct approach to the content (Structure of Matter: models of atoms and molecules, energy quantization, radioactivity and elementary particles), much of the construction of these concepts, which make up part of modern and contemporary physics, begins in philosophy or in the effort to overcome the limitations that the classical approach of science imposes. We believe that the education Structure of Matter depends directly on the joint carried out by Professor between classic and contemporary knowledge of science. This articulation, in turn, depend entirely on the concepts formed by teachers about the treated concepts, ie its ontological vision, epistemological and conceptual theme. Therefore, we invite teachers who taught the discipline of physics in high shool of Bauru-SP region, to build and discuss these concepts in a continuing education course conducted with the research group. Thus, we sought to initially build on the History, Philosophy and Philosophy of Science the concepts underlying the Structure of Matter, to then perform a critical discussion of its relationship with the curriculum of the State of São Paulo and the factors that limited classes that addressed the issue. Later the discussion we conducted a conceptual study directed and teachers built ta lesson plan that would address the issue. Under the survey, this way inserted at specific times of the training course, enabling the holding of discussion concerning the knowledge of teachers...

Orientador: Silvia Regina Quijadas Aro Zuliani<br>Co-orientador: Denise Fernandes de Mello<br>Banca: Eduardo Adolfo Terrazzan<br>Banca: Sandra Regina Teodoro Gatti<br>Resumo: A partir dos estudos desenvolvidos no grupo de pesquisa "Ensino de Química, Investigação Orientada, Linguagens e Formação Docente", da Universidade Estadual Paulista "Julio de Mesquita Filho" - Unesp - campus de Bauru-SP, deste trabalho e dos referenciais teóricos utilizados, percebeu-se que grande parte dos professores do Ensino Médio o qual ministravam a disciplina de Física não abordavam o tema Estrutura da Matéria em suas aulas, seja no âmbito geral da disciplina ou na abordagem direta do Currículo do Estado de São Paulo para Ciências da Natureza. Apesar da abordagem direta do conteúdo (Estrutura da Matéria: modelos de átomos e moléculas, quantização da energia, radioatividade e partículas elementares), grande parte da construção destes conceitos, o qual compõem parte da física moderna e contemporânea, inicia-se na Filosofia ou na busca da superação da limitações que a abordagem clássica das ciências impõe. Acreditamos que o ensino de estrutura da Matéria depende diretamente da articulação realizada pelo professor entre os saberes clássicos e contemporâneos das ciências. Esta articulação, por sua vez, depende inteiramente das concepções formadas pelos professores acerca dos conceitos tratados, ou seja, de sua visão ontológica, epistemológica e conceitual do tema. Para tanto, convidamos professores que ministravam a disciplina de Física, no Ensino Médio da região de Bauru-SP, para construírem e discutirem tais conceitos em um curso de formação continuada realizada junto do grupo de pesquisas. Assim, buscou-se, inicialmente, construir com base na História, Filosofia e Filosofia da Ciência os conceitos subjacentes à Estrutura da Matéria, para em seguida realizar uma discussão crítica de sua articulação com o Currículo do Estado de São Paulo e dos fatores que limitavam as aulas que abordassem o tema. Posteriormente às discussões, realizamos um estudo conceitual dirigido e os...<br>Abstract: From the studies developed in the research group "Ensino de Química", Investigação Orientada, Linguagens e Formação Docente", ou Universidade Estadual Paulista "Julio de Mesquita Filho" - Unesp - campus of Bauru-SP, this work and theoretical frameworks used, it was noticed that most of the high school teachers who teach physics dis not point "structure of matter", in their classes, either within the direct approach of the State of São Paulo Curriculum for Natural Sciences. Although, a direct approach to the content (Structure of Matter: models of atoms and molecules, energy quantization, radioactivity and elementary particles), much of the construction of these concepts, which make up part of modern and contemporary physics, begins in philosophy or in the effort to overcome the limitations that the classical approach of science imposes. We believe that the education Structure of Matter depends directly on the joint carried out by Professor between classic and contemporary knowledge of science. This articulation, in turn, depend entirely on the concepts formed by teachers about the treated concepts, ie its ontological vision, epistemological and conceptual theme. Therefore, we invite teachers who taught the discipline of physics in high shool of Bauru-SP region, to build and discuss these concepts in a continuing education course conducted with the research group. Thus, we sought to initially build on the History, Philosophy and Philosophy of Science the concepts underlying the Structure of Matter, to then perform a critical discussion of its relationship with the curriculum of the State of São Paulo and the factors that limited classes that addressed the issue. Later the discussion we conducted a conceptual study directed and teachers built ta lesson plan that would address the issue. Under the survey, this way inserted at specific times of the training course, enabling the holding of discussion concerning the knowledge of teachers...<br>Mestre

Conselho Nacional de Desenvolvimento Científico e Tecnológico<br>Ao observarmos o fenômeno do vasto uso da figura mítica do Rei Artur e do mago Merlín pela Literatura Galega, no século XX, pensamos nos possíveis motivos e/ou razões para tal. Afinal, por que um tema historicamente tão distante de Galiza a afeta tanto?Assim, no intento de responder a essa questão procuramos observar a presença de personagens da tradição artúrica em narrativas pós-modernas galegas, através do conto Amor de Artur (1982), de Méndez Ferrín, e da novela Merlín e Familia (1955), de Álvaro Cunqueiro em comparação com obras medievais que perpetuaram a Matéria da Bretanha. Pelas observações iniciais, podemos perceber que estes personagens reúnem em si a representação de dois elementos culturais muito representativos da cultura galega: a Idade Média e a cultura celta. Verificamos deste modo que a utilização de personagens da Matéria da Bretanha ocorre, nas obras aqui analisadas, numa busca destes autores por uma identificação da cultura galega com a memória coletiva ocidental, da qual Artur é um dos maiores representantes, para assim reafirmar e/ou legitimar a própria cultura. A partir disto, dividimos a análise em três partes, nas quais observamos, nas duas obras, três elementos que demarcam temas através dos quais os galegos se identificam como nação: o celtismo, a peregrinação e o campesinato. Concluímos, então, que as identidades são construídas através da narrativa, derivada da memória. Deste modo, no caso das narrativas citadas, legitima-se a identidade através de elementos especificamente galegos reunidos a elementos universais/imortais procedentes do legado artúrico sedimentado na memória coletiva ocidental.<br>Al observarmos el fenómeno del vasto uso de la figura mítica del Rey Arturo y del mago Merlín por la Literatura Gallega, en el siglo XX, pensamos en los posibles motivos y/o razones para tal. Entonces, por qué un tema cuya historicidad está tan lejos de la Galicia cobró tanta importancia? Así, intentando responder a esa cuestión buscamos observar la presencia de personajes de la tradición artúrica en narrativas posmodernas gallegas, a través del cuento Amor de Arturo (1982), de Méndez Ferrín, y de la novela Merlín y Familia (1955), de Álvaro Cunqueiro en comparación con obras medievales que perpetuaran la Matéria de la Bretanha. Por las observaciones iniciales, podemos percibir que estos personajes reúnen en si mismos la representación de dos elementos culturales muy representativos de la cultura gallega: la Edad Media y la cultura celta. Verificamos de este modo que la utilización de los personajes de la Materia de la Bretanha ocurre, en las obras aquí analizadas, en una búsqueda de estes autores por una identificación de la cultura gallega con la memoria del pueblo ocidental, en la cual Arturo es un de los mayores representantes, para así reafirmar y/o legitimar la propia cultura.Dividimos la análisis en tres partes, en las cuales observamos, en las dos obras, tres elementos que resaltan temas a través de los cuales los gallegos se identifican como nación: el celtismo, la peregrinación y el campesinato.Concluimos, entonces, que las identidades son construidas a través de la narrativa, derivada de la memoria. De este modo, en el caso de las narrativas presentadas, se legitima la identidad a través de elementos específicamente gallegos reunidos a elementos universales/imortales procedentes del legado artúrico sedimentado en la memoria de Occidente.

Made available in DSpace on 2017-07-24T19:45:50Z (GMT). No. of bitstreams: 1 Romeu Nunes de Freitas.pdf: 2480856 bytes, checksum: f53956ff3db6efc4cdba2b4616fc6bf4 (MD5) Previous issue date: 2016-09-22<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>Facing the challenge to insert topics of Modern and Contemporary Physics in basic education high school, the educational Product called – Focus on Photon: relations between color, frequency and electromagnetic radiation energy – was developed, and its application was analyzed. The material produced consists of a teaching unit comprising four lessons in which the concept of photon is worked through theoretical views related to the photoelectrical effect, LEDs functioning and photodiode sensors. This proposition to teach Physics took the meaningful learning theory presented by Ausubel and Vygotsky’s mediation as theoretical background. The use of experimental activities as facilitators of a more active posture regarding the teaching-learning process along with the contextualization of Physics approached in the classroom aimed at providing students with a better understanding of some of the devices employed around them under the light of the current scientific and technological development. Taking into consideration the results of applying this educational Product to the teaching reality, the teaching proposal developed can be considered as a potential tool to insert Modern and Contemporary Physics to the high school curriculum.<br>Frente ao desafio de inserir assuntos de Física Moderna e Contemporânea no nível médio da Educação Básica, efetuou-se o desenvolvimento do Produto educacional intitulado – O Fóton em Foco: relações entre cor, frequência e energia de radiações eletromagnéticas – e a análise decorrente da aplicação do mesmo. O material produzido consiste em uma unidade didática composta por quatro Aulas, nestas a concepção de fóton é trabalhada sob os enfoques teóricos relacionados ao efeito fotoelétrico, ao funcionamento de LEDs e aos sensores fotodiodos. Na citada proposição de Ensino de Física, foram levados em conta: as teorias da aprendizagem significativa de Ausubel e da mediação de Vygotsky como marco referencial teórico; o uso de atividades experimentais como meios potencialmente facilitadores em uma perspectiva investigativa na qual o educando possa assumir uma postura mais ativa no respectivo processo de ensino-aprendizagem; e a contextualização da Física abordada em sala de aula para que os educandos possam compreender alguns dispositivos empregados à sua volta ante o atual desenvolvimento científico e tecnológico. Da aplicação do Produto educacional em duas realidades de ensino, a proposta de ensino desenvolvida pode ser considerada como uma ferramenta potencial para a inserção de Física Moderna e Contemporânea.

Como entender a afirmação de Kant de que os conceitos puros do entendimento são derivados do entendimento puro? Este problema se impõe na medida em que as categorias são conceitos e os conceitos são cognições cuja forma é a mesma para todos e cuja matéria é sempre oriunda da sensibilidade. Por sua vez, tal dificuldade nos deixa outro problema: compreender como podemos distinguir duas categorias puras, sendo que elas não possuem matéria e têm a mesma forma comum. Ora, se os únicos modos de distinguirmos entre diferentes conceitos é com base em sua matéria ou sua forma, então parece que duas categorias puras – como as categorias de substância e causa - não são, em princípio, conceitos distintos. Testaremos a alternativa de buscar um modo de distinção entre conceitos que não passe nem pela sua matéria, nem pela sua forma entendida como mera universalidade. Investiguemos se é possível termos conceitos empíricos que quanto à matéria e quanto à forma são iguais, mas que, no entanto, são – ainda assim - distintos. Pensemos no exemplo dos conceitos de “árvore”, “passarinho” e “arvorinho”. Se tomarmos os dois primeiros conceitos, vemos que eles exprimem uma realidade na medida em que correspondem a certa apreensão dos objetos na intuição empírica, do mesmo modo que o conceito de “arvorinho”. Assim, ao perguntarmos pelo fundamento empírico desses conceitos, vemos que eles são “formados” a partir de uma mesma matéria sensível. Por outro lado, sabemos que estes conceitos também são idênticos no que diz respeito à sua forma. Entretanto, mesmo tendo a mesma matéria e a mesma forma, são conceitos distintos. O que este exemplo chama atenção é uma diferença na síntese que nem sempre pode ser explicada pela matéria sintetizada. Por sua vez, tal síntese pode ser dita uma síntese empírica na medida em que sua regra refletida no conceito do objeto é determinada com recurso à experiência. Assim, se pudermos encontrar algo análogo a esta regra de síntese no caso dos conceitos puros do entendimento, poderemos chegar a um fundamento de distinção entre os conceitos que não repousa nem na sua matéria nem na sua forma como mera universalidade. Modos distintos de fazer uma síntese pura, permitiriam distinguir uma categoria pura de outra, por exemplo, que nos permitiriam distinguir a categoria de “substância” da categoria de “causa”. E, com isso, podemos tentar resolver o problema da derivação das categorias do entendimento ao atentar para uma regra de síntese pura refletida nas categorias, regra essa que poderia ser derivada das formas do juízo. A tarefa desta dissertação será elucidar os elementos do problema aqui exposto e apresentar a solução aqui indicada.<br>How to understand Kant’s claim that the pure concepts of understanding are derived from the pure understanding? This problem arises because the categories are concepts, and the concepts are cognitions whose form is the same and whose matter is always derived from sensibility. This difficulty leads us to another problem: how to distinguish between two pure categories, once they don’t have matter, but they still do have the same common form. If the only way to distinguish concepts is with respect to their matter, then it seems that two pure categories – like the categories of substance and cause – are not, in principle, two distinct concepts. We shall test the alternative of finding a way of distinguishing between concepts neither from their matter, nor from their form understood as a mere universality. We shall investigate if it is possible to have empirical concepts which are the same in regard to their matter and form, but are, nevertheless, distinct concepts. Think about the example of the concepts “tree”, “bird” and “treebird”. If we take the two first concepts, we see that they express a reality because they correspond to the apprehension of objects in the empirical intuition, like the concept of “tree-bird”. So, if we ask for the empirical ground of their concepts, we shall find that they are “formed” from the same sensible matter. On the other hand, we know that these concepts are also the same in regard the common form. However, even though they have the same matter and the same form, they are distinct concepts. What this example shows is a difference in the synthesis, that can not always be explained by the synthesized matter. This synthesis can be called an empirical synthesis, since it’s rule reflected in the concept of the object is determined by means of experience. Therefore, if we can find something analogous to this rule of synthesis in the case of the pure concepts of the understanding, we can find a ground for distinguishing between the concepts that do not rest neither in their matter, nor in their form as a mere universality. Distinct ways of making a pure synthesis would permit to distinguish one pure category from another, for example, they would permit to distinguish the category of “substance” from the category of “cause”. And, then, we can try to solve the problem of the derivation of the categories of pure understanding when we pay attention to the rule of pure synthesis reflected in the categories, a rule that can be derived from the judgment forms. The task of this dissertation is to elucidate the elements of the problem here exposed and to present the solution here indicated.

Le présent travail se fixe pour objet d’étude l’effondrement des limites entre les arts au milieu des années 1960, son lien avec la naissance des avant-gardes et la chute du système des Beaux-Arts. En remontant un fil tendu par Adorno, nous verrons que celle-ci semble suspendre la dialectique de la raison en tant qu’elle met à mal la division de l’art en genres — pendant de la division du travail dans le monde administré. L’ensemble du processus étudié, que nous avons choisi de nommer dissolution des limites entre les arts, nous conduit à remonter en amont des événements liés à ce changement de paradigme, afin d’en repérer les éléments déclencheurs — lesquels semblent contenus, comme en germe, dans les motivations à l’origine de l’éclosion des avant-gardes. Croisant la lecture d’Adorno et de Greenberg, cette analyse cherche, pour ce faire, à isoler des moments structurants, dont certains apparaissent comme des résonances, des échos amplifiés des autres, comme une manière d’en accuser réception : le contexte des années dix, par exemple, dans lequel les constructions cubistes de Picasso font d’ores et déjà trembler les lignes de démarcation des arts en sortant de l’espace confiné de la toile pour visiter celui de la sculpture ; puis celui des années cinquante et soixante, marqué par la catégorie des Specific Objects de Judd, mais aussi par les œuvres de Morris et Rauschenberg. Notre analyse porte également sur les années qui ont suivi cet effondrement des frontières entre les arts et tente de suivre une perspective herméneutique, en empruntant une voie esquissée notamment par Adorno dans L’art et les arts, lequel a observé que cette tendance à « l’effrangement » a fini par jouer un rôle dans l’antagonisme entre le public et l’art contemporain — anticipant les débats qui eurent lieu bien après sa mort, et que l’on retrouve sous le terme de « crise de l’art contemporain » dans les années 1990. Cet axe de recherche nous amène à poser à nouveaux frais la question de l’autonomie de l’art, devenue problématique depuis le passage des Beaux-Arts à l’art, tout particulièrement au cœur de la réception anglo-saxonne de l’esthétique d’Adorno, auteur d’une définition de l’autonomie de l’art tout à fait singulière — paradoxale. Il s'agit donc de commencer à procéder à l’exégèse de textes anglais et américains, qui, remettant au travail cette problématique classique, entendent montrer que la définition qu’en propose Adorno reste opérante lorsqu’on la confronte aux œuvres d’art actuelles<br>This thesis is aiming at analyzing the link between the arts and between the art and what is extrinsic to art. The issue is to expand and refine Adorno’s analysis in his book The art and the arts. We will aim to provide a theoretical overview of the collapse of the artistic genres in the mid-sixties, and consider its link with the birth of French Avant-Garde and with the decline of the system of Fine Arts. The whole process that we would like to analyse starts with a mere imbrication of the arts, and reaches its culmination with a proper dislocation of its boundaries, as a result of successive stages that are locatable in the past. This will lead us to examine the stages before the outright collapse of artistic genres, to identify the triggers that ultimatly result in this paradigmatic change. Can we consider that the seeds of this dissolution are already planted in what led to the birth of the Avant-Garde? Is it reasonable to think that the postmodernity was already part of the modernity, as an inevitable shift which finds its fulfillment in the early sixties? Does the movement from the specific to the generic (de Duve) render the Adornian notion of Verfransung obsolete? What kind of “generic alterations” can we identify within the contemporary art? What is the status of non-art in regard to the Adornian negative dialectics? Can one consider that it represents a “stopped dialectics” — a moment of freedom in the dialectics of enlightenment? We will identify some structuring phases — some of which would appear as amplified echos of the others. We wish to continue our analysis from a hermeneutical perspective, and see how this dissolution has played a key role in the antagonism between contemporary art and the public. The issues related to the dissolution of boundaries between the arts will lead us to evaluate and interpret the Adornian arguments regarding the need for autonomy in art. Can we nowadays defend the idea of an autonomy of art? Is it then necessary to adapt its definition in the light of current works of art? Does the adornian conception of autonomy remain relevant? Can we consider that installation or performance perpetuate the exigences of modernism and create what could be called a new and “non-modernist" Avant-Garde?

Dissertação (mestrado)-Universidade de Brasília, Programa de Pós-Graduação em ensino de ciências, 2011.<br>Submitted by Camila Miranda (camilamiranda@bce.unb.br) on 2012-03-16T21:39:28Z No. of bitstreams: 1 2011_Ligia da Silva Almeida Melo.pdf: 4221448 bytes, checksum: e2ddbfa40aec2587f8143e77e1a61906 (MD5)<br>Approved for entry into archive by Marília Freitas(marilia@bce.unb.br) on 2012-03-23T12:29:19Z (GMT) No. of bitstreams: 1 2011_Ligia da Silva Almeida Melo.pdf: 4221448 bytes, checksum: e2ddbfa40aec2587f8143e77e1a61906 (MD5)<br>Made available in DSpace on 2012-03-23T12:29:19Z (GMT). No. of bitstreams: 1 2011_Ligia da Silva Almeida Melo.pdf: 4221448 bytes, checksum: e2ddbfa40aec2587f8143e77e1a61906 (MD5)<br>Essa dissertação investigou a eficácia do uso de seminários no Ensino Médio em busca de uma aprendizagem significativa acerca da constituição atômica da matéria. Portanto, conteúdos acerca das evidências experimentais da existência do átomo foram abordados. Assim, foi feita uma análise em livros didáticos de Física e de Química com o objetivo de verificar a presença destes conteúdos e a forma como são apresentados. Esse projeto de pesquisa, fundamentado na Teoria da Aprendizagem Significativa Crítica, foi realizado em uma escola pública do Distrito Federal com duas turmas da segunda série do Ensino Médio, das quais uma compôs o grupo experimental e a outra o grupo controle. No grupo experimental os estudantes prepararam e apresentaram seminários, de forma orientada, utilizando roteiros-guia desenvolvidos para cada tema abordado. No grupo controle a professora/pesquisadora ministrou aulas sobre os mesmos temas dos seminários. Todos os estudantes responderam a um pré e um pós-teste a fim de verificar a relação entre o uso de seminários e o aumento na compreensão dos conceitos abordados. Os dados obtidos foram analisados de forma qualitativa e, indicaram que a elaboração e a apresentação de seminários devidamente orientados favorecem o alcance de melhores resultados no processo de ensino e aprendizagem. O material didático produzido e utilizado neste trabalho compõe a proposição didática e, encontra-se nos apêndices dessa dissertação. _________________________________________________________________________________ ABSTRACT<br>This work investigated the efficacy of seminars in high school students in search of a meaningful learning about the atomic constitution of matter. Therefore, contents about the experimental evidence of the existence of the atom were approached. Thus, an analysis was done in textbooks of physics and chemistry in order to verify the presence of these contents and how they are presented. This project, based on the Theory of Meaningful Critical Learning, was held in a public school of Federal District, with two classes of second grade high school, from which one composed the experimental group and the other composed the control group. In the experimental group, the students prepared and presented seminars, in a targeted manner using script guides developed for each theme. In the control group the teacher/researcher taught the same topics of the seminars. All the students answered a pre-and a post-test to verify the relationship between the use of seminars and increased understanding of the approached concepts. The data were analyzed qualitatively and they indicated that the preparation and presentation of seminars guided properly promote the achievement of better results in teaching and learning process. The didactic material produced and used in this work forms the didactic proposal and it is in the appendices of this dissertation.

Cette thèse retrace l’histoire de la biscuiterie Huntley and Palmers, implantée à Reading de 1841 à 1977. Elle étudie le développement de l’entreprise à travers ses successives innovations et modernisations, d’une firme familiale traditionnelle à une entreprise moderne qui finit absorbée par de plus grands groupes. Ce travail examine l’impact de ce géant de l’industrie biscuitière sur la société britannique et plus largement le monde à travers une étude de sa production alimentaire ainsi que de sa production visuelle, en mobilisant des éléments de culture matérielle des archives officielles de la firme ainsi que d’autres fonds originaux. La thèse étudie également en profondeur la question du paternalisme tel qu’il est pratiqué par Huntley and Palmers, afin de re-situer ces pratiques et l’idéologie qui les motive dans un contexte national. Elle évalue ces pratiques à l’aune des différentes variétés de paternalisme existantes et retrace l’évolution d’une forme de paternalisme typique du dix-neuvième siècle vers un « nouveau paternalisme » institutionnalisé puis un « post-paternalisme » propre aux entreprises modernes. Enfin, le travail porte un intérêt tout particulier à mêler la perspective des employeurs à celle des employés, afin de dépasser la vision de l’entreprise donnée par les archives officielles<br>This thesis recounts the history of the Huntley and Palmers biscuit company, based in Reading from 1841 to 1977. It examines the development of the company through the successive innovations and modernisations, from the traditional family firm to the modern firm that would eventually be absorbed by larger groups. This work studies the impact of the biscuit giant on British society and on the world at large by a survey of its production, in terms of food as well as visual production, by using elements of material culture present in the company’s official archives as well as original collections. It also investigates the question of paternalism and paternalist practices at Huntley and Palmers’, so as to locate these measures and the ideology behind them in a national context. These practices are assessed in the light of the different varieties of paternalism and enable us to map the evolution from a typical nineteenth-century brand of paternalism towards institutionalised “new paternalism” followed by a form of “post-paternalism” characteristic of modern companies. Finally, the thesis lays emphasis on combining the employers’ perspective with that of the employees in order to go beyond the vision of the company that transpires from the official archives

Il s’agit de s’interroger à partir de notre pratique plastique qui s’intègre dans l’Art Végétal, sur le statut, la fonction et le processus créateur du proto-matériau végétal dans les œuvres contemporaines. Ce travail analyse la capacité du déchet, d’une épluchure de fruit ou de légume à convoquer certains savoir-faire, procédés techniques s’intégrant dans un proto-langage artistique. Ce principe créateur végétal interroge de manière paradoxale la notion de conservation créatrice à partir de matériaux ordinaires et éphémères. Ces dispositifs de préservation de fragments végétaux créent un espace olfactif, tactile et visuel qui rend hommage à la nature précaire. La mobilité d’un espace utopique spatio-temporel se fonde sur la fragmentation de téguments qui constituent la base de structures architecturales nourries d’une double pensée : occidentale et extrême orientale. Mes œuvres interrogent l’éthique écologique d’un contexte occidental de surconsommation par la fragilité de fragments de vanité<br>It is a question of our plastic practice, which integrates with the plant Art, on the status, function and creative process of the proto-material in contemporary works. This work analyses the capacity of waste, a fruit or vegetable peel to summon certain know-how, technical processes integrating into an artistic proto-language.This plant-creative principle paradoxically questions the notion of creative conservation from ordinary and ephemeral materials. These devices for preserving plant fragments create an olfactory, tactile and visual space that pays homage to the precarious nature.The mobility of a spatial-temporal utopian space is based on the fragmentation of integuments which form the basis of architectural structures nourished by a twofold thought: Western and Far Eastern. My works question the ecological ethic of a Western context of overconsumption by the fragility of vanity fragments

Cette thèse retrace l’histoire de la biscuiterie Huntley and Palmers, implantée à Reading de 1841 à 1977. Elle étudie le développement de l’entreprise à travers ses successives innovations et modernisations, d’une firme familiale traditionnelle à une entreprise moderne qui finit absorbée par de plus grands groupes. Ce travail examine l’impact de ce géant de l’industrie biscuitière sur la société britannique et plus largement le monde à travers une étude de sa production alimentaire ainsi que de sa production visuelle, en mobilisant des éléments de culture matérielle des archives officielles de la firme ainsi que d’autres fonds originaux. La thèse étudie également en profondeur la question du paternalisme tel qu’il est pratiqué par Huntley and Palmers, afin de re-situer ces pratiques et l’idéologie qui les motive dans un contexte national. Elle évalue ces pratiques à l’aune des différentes variétés de paternalisme existantes et retrace l’évolution d’une forme de paternalisme typique du dix-neuvième siècle vers un « nouveau paternalisme » institutionnalisé puis un « post-paternalisme » propre aux entreprises modernes. Enfin, le travail porte un intérêt tout particulier à mêler la perspective des employeurs à celle des employés, afin de dépasser la vision de l’entreprise donnée par les archives officielles<br>This thesis recounts the history of the Huntley and Palmers biscuit company, based in Reading from 1841 to 1977. It examines the development of the company through the successive innovations and modernisations, from the traditional family firm to the modern firm that would eventually be absorbed by larger groups. This work studies the impact of the biscuit giant on British society and on the world at large by a survey of its production, in terms of food as well as visual production, by using elements of material culture present in the company’s official archives as well as original collections. It also investigates the question of paternalism and paternalist practices at Huntley and Palmers’, so as to locate these measures and the ideology behind them in a national context. These practices are assessed in the light of the different varieties of paternalism and enable us to map the evolution from a typical nineteenth-century brand of paternalism towards institutionalised “new paternalism” followed by a form of “post-paternalism” characteristic of modern companies. Finally, the thesis lays emphasis on combining the employers’ perspective with that of the employees in order to go beyond the vision of the company that transpires from the official archives

Les objectifs de ce travail sont l'etude theorique et numerique du comportement des betons de resine, et l'optimisation des cycles de fabrication des structures moulees. Dans l'approche macroscopique, un modele thermo-chimique a 3d, prenant en compte la cinetique de la reaction chimique et permettant le calcul des evolutions temporelles du champ chimique et des champs de temperature de la matrice et des agregats, est developpe, identifie, puis mis en uvre dans un premier code en elements finis. Un modele thermo-viscoelastique thermo-rheologiquement complexe est propose, identifie, et mis en uvre dans un deuxieme code en elements finis 3d. Une optimisation du cycle de fabrication des batis de machines-outils de haute precision, minimisant les contraintes internes et residuelles grace a un chauffage externe controle des moules, est realisee a l'aide des deux codes numeriques developpes. Dans l'approche microscopique, un mailleur automatique 3d est construit pour la simulation de la structure interne du beton de resine. La granulometrie, la forme ellipsoidale et la distribution aleatoire des positions et des orientations des agregats sont correctement simulees. Les applications suivantes concernant les proprietes effectives du materiau heterogene sont presentees: conductivite thermique avec et sans resistance aux interfaces, coefficients elastiques sous trois differentes conditions aux limites, champs de micro-contraintes, champs de temperatures

Les Photomultiplicateurs Silicium (SiPM) sont devenus aujourd’hui des détecteurs de lumière visible, applicables dans de nombreux domaines comme la Physique des Hautes Énergies, les expériences Neutrinos, la détection de fluorescence, pour des applications de biophotonique ou d’imagerie médicale. La première partie de ma thèse concerne l’étude des divers paramètres physiques des SiPM en fonction de température T. En particulier, des composants récents (2015) de KETEK ayant diverses caractéristiques technologiques comme des jonctions p/n ou n/p, avec ou sans « trench » entre cellules, différentes épaisseurs de couches épitaxiales, etc… ont été étudiés dans la gamme de T de 308.15 K (+35°C) à 238.15 K (-35°C). En plus, des composants Hamamatsu de production 2011, ainsi que de production 2015 avec des caractéristiques technologiques améliorées (faible bruit), ont été testés dans la gamme 318.15 K (+45°C) à 98.15 K (-175°C). Pour ces études, j’ai participé à la conception, l’installation, la mise en service et la calibration d’un banc cryogénique destiné aux caractérisations électriques, optiques, et en température, des SiPM. J’ai développé une procédure d’analyse automatisée, capable de traiter en un temps très court une énorme quantité de données expérimentales (i.e. dizaines de Gb/détecteur), et de fournir une information rapide et précise sur les principaux paramètres et leur dépendance en T. J’ai développé un modèle physique décrivant les courbes IV en DC pour différentes T. Ce modèle proposé reproduit bien la forme de la courbe IV dans une large gamme de courants allant de 10⁻¹² à 10⁻⁵ A sur toute la zone de fonctionnement des divers détecteurs. Ainsi, le modèle IV peut être utilisé comme un outil simple et rapide pour déterminer les paramètres du SiPM comme le VBD, la forme de la courbe PGeiger en fonction de Vbias, ainsi que la plage des tensions de fonctionnement. La comparaison de ces paramètres avec ceux obtenus en mesure AC, et analysés par la procédure automatisée, sont en bonne concordance. La seconde partie de ma thèse a porté sur l’étude de composants SiPM spécialement adaptés à une application biomédicale. Il s’agit d’une sonde intracérébrale, sensible à l’émission β (Nβ) de molécules marquées par un traceur radioactif, injectées dans le cerveau d’un animal vivant. Le but étant de construire un nouveau "modèle animal" de maladies humaines telles que les maladies neuro-dégénératives ou neuropsychiatriques et la croissance de tumeurs. Cette sonde se compose d’un SiPM de très petite taille, bas bruit, couplé à une fibre scintillante, suivie d’une électronique de lecture spécifique, miniaturisée, à faible consommation. Ces SiPM ont été choisis comme les plus adaptés à notre application : deux SiPM de KETEK de 0.5x0.5 mm² (spécialement développés par cette compagnie pour nos besoins), et un SiPM standard de 1.3x1.3 mm² de Hamamatsu, tous ayant des μ-cellules de 50 × 50 μm². Pour chaque composant, les paramètres G, DCR et la sensibilité β ont été mesurés en fonction de Vbias et T. Les résultats obtenus montrent que le faible champ de vue des nouvelles structures KETEK permet une bonne amélioration du DCR. Cependant ce faible champ de vue entraîne une perte de collection de lumière due à l’épaisseur de la couche de résine époxy de protection, et à l’angle d’acceptante de la fibre. Comme la sensibilité β est un compromis entre le PDE et le DCR, les SiPM de KETEK montrent au final des performances voisines de celles de Hamamatsu. Les résultats préliminaires démontrent que la sensibilité β de KETEK peut être améliorée significativement en utilisant une lentille de focalisation entre la fibre scintillante et le SiPM, ou en diminuant l’épaisseur de la couche de résine époxy de protection<br>Silicon PhotoMultiplier (SiPM) detector has become a suitable visible light/photon detector for many applications like high energy physics and neutrino experiments, fluorescence detection, bio-photonics and medical imaging. The first part of my thesis was oriented to the studies of SiPM physics parameters as a function of temperature. Particularly, recent KETEK devices (year 2015) with different technological characteristics like p/n and n/p junctions, with and without trench technology, and different widths of epitaxial layer were studied in the temperature range from 308.15 K (+35°C) down to 238.15 K (-35°C). In addition, the Hamamatsu devices from 2011 production run as well as new devices from 2015 year, with improved technological characteristics inducing a reduced noise, were investigated in a wider temperature range from 318.15 K (+45°C) down to 98.15 K (-175°C). For these purposes, I participated to the design, installation, commissioning and calibration of a cryogenic experimental setup dedicated to electrical, optical and temperature studies of SiPM devices. Also, I have developed an automatic analysis procedure able to handle in a short time an impressive quantity of experimental data (i.e. tens of Gb/device) and to give a precise and fast information on main SiPM parameters and their temperature dependence. I have also developed a physical modeldescribing the DC I-V curves of SiPM detectors at different temperatures. The proposed model fits well the shape of IV curve in a very large currents range from 10⁻¹² A up to 10⁻⁵ A over the full working range of various devices. Consequently, the IV model can be used as a simple and fast method for determination of SiPM parameters like breakdown voltage VBD, the shape of Geiger triggering probability PGeiger as a function of Vbias as well as the Vbias working range. The comparison of these parameters with those calculated from AC measurements and analyzed by the automatic procedure showed a good agreement. The second part of my thesis was oriented to the study of SiPM devices and their physical parameters required to build a prototype of betasensitive intracerebral probe. Such probe is dedicated to measure the local concentration of radiolabeled molecules on awake and freely moving animal and to study new animal models of human disorders (neurodegenerative diseases, tumor growth, and neuropsychiatric disorders). It is composed of small size, low-noise SiPM device coupled to a scintillating fiber and readout by a dedicated miniaturized low-power consumption electronics. Three SiPM devices have been chosen as the most adapted for our application: two small KETEK devices of 0.5×0.5 mm² size (with and without optical trenches, specially developed by KETEK to fulfill our requirements) and a standard Hamamatsu device of 1.3×1.3 mm² size, all devices having 50 × 50 μm² μcell size. For each SiPM the gain G, dark count rate DCR and beta sensitivity were measured as a function of Vbias and temperature. The obtained results showed that the small field of view and newly developed structure of the KETEK devices allow a large decrease of the dark count rate DCR. However, this small field of view also leads to a reduced light collection due to the thickness of the epoxy protection resin on top of the SiPM and the acceptance angle of the fiber. Since the beta sensitivity represents a tradeoff between photon detection efficiency PDE and dark count rate DCR, KETEK SiPMs exhibit similar performances in comparison with the Hamamatsu device. Preliminary results demonstrate that the beta sensitivity of KETEK devices can be significantly improved by using focusing lens between the scintillating fiber and the SiPM or by reducing the thickness of its epoxy protection resin

Les « cultures à céramique modelée peinte » se sont développées dans la seconde moitié du IIe millénaire av. J ;-C. (âge du Fer ancien) sur un vaste territoire couvrant les actuelles républiques d'Ouzbékistan, du Turkménistan, du Tadjikistan, du Kirghizstan, ainsi que le nord de l' Afghanistan et le nord-est de l'Iran. Connues depuis presque un siècle, grâce aux nombreuses recherches menées par les archéologues soviétiques, l'apparition de ces cultures est considérée comme une « régression» matérielle, culturelle et socio-économique qui contribuerait à la disparition de la brillante civilisation de la fin de l'âge du Bronze. Mais si leurs productions matérielles ont été bien étudiées, leur structuration et leur place au sein de la protohistoire centrasiatique n'étaient connues que superficiellement, et notre étude vise donc à renouveler la perception que nous en avons. Grâce à l' analyse d'un abondant complexe céramique inédit issu de fouilles françaises et italiennes récentes (Koktepe, Dzharkutan, Dzham-53 en Ouzbékistan ; Ulug-depe au Turkmenistan) et soviétiques plus anciennes et grâce aussi à un nouvel examen de l'ensemble des données publiées ou inédites disponibles, nous avons pu affiner et caracteriser la production matérielle de ces cultures et en déterminer la base socio-économique, proposant ainsi de nouvelles définitions de leurs faciès culturels. Nous discutons également les modalités et les circonstances de la transition de l'âge du Bronze final à l'age du Fer ancien, puis celles du passage vers l'âge du Fer moyen-récent, tout en les replaçant dans un contexte chronologique et géographique large, dans une optique méthodologique et thématique qui s'inscrit pleinement dans les perspectives de recherche qui prévalent actuellement en Asie centrale et au Proche-Orient.

Les " cultures à céramique modelée peinte " se sont développées dans la seconde moitié du IIe millénaire av. J.-C. (âge du Fer ancien) sur un vaste territoire couvrant les actuelles républiques d'Ouzbékistan, du Turkménistan, du Tadjikistan, du Kirghizstan, ainsi que le nord de l'Afghanistan et le nord-est de l'Iran. Connues depuis presque un siècle, grâce aux nombreuses recherches menées par les archéologues soviétiques, l'apparition de ces cultures est considérée comme une " régression " matérielle, culturelle et socio-économique qui contribuerait à la disparition de la brillante civilisation de la fin de l'âge du Bronze. Mais si leurs productions matérielles ont été bien étudiées, leur structuration et leur place au sein de la protohistoire centrasiatique n'étaient connues que superficiellement, et notre étude vise donc à renouveler la perception que nous en avons. Grâce à l'analyse d'un abondant complexe céramique inédit issu de fouilles françaises et italiennes récentes (Koktepe, Dzharkutan, Dzham-53 en Ouzbékistan ; Ulug-depe au Turkménistan) et soviétiques plus anciennes et grâce aussi à un nouvel examen de l'ensemble des données publiées ou inédites disponibles, nous avons pu affiner et caractériser la production matérielle de ces cultures et en déterminer la base socio-économique, proposant ainsi de nouvelles définitions de leurs faciès culturels. Nous discutons également les modalités et les circonstances de la transition de l'âge du Bronze final à l'âge du Fer ancien, puis celles du passage vers l'âge du Fer moyen-récent, tout en les replaçant dans un contexte chronologique et géographique large, dans une optique méthodologique et thématique qui s'inscrit pleinement dans les perspectives de recherche qui prévalent actuellement en Asie centrale et au Proche-Orient.

Esta dissertação pretende mostrar que a tese de Hume de que nós estamos inevitavelmente determinados a crer na existência de objetos externos tem a circunscrição de seu significado condicionada à identificação e à resolução de uma inconsistência presente na teoria humeana da crença inevitável em objetos externos. Essa inconsistência se expressa pela incompatibilidade entre a tese de que (P1) nós inevitavelmente cremos em objetos externos e a tese de que (P2) não podemos conceber objetos externos. Essas teses são incompatíveis se se considera que, para Hume, (P4) não podemos crer em algo que não podemos conceber. Esse problema só emerge se se supõe um uso unívoco da expressão "objeto externo" por parte de Hume em (P1) e (P2), e se se supõe que (P4) é o caso para Hume, o que se mostra ser um ponto de partida razoável. Os resultados indicam que as duas interpretações gerais do significado da tese de que nós inevitavelmente cremos em objetos externos, o naturalismo cético e o realismo cético, chegam a conclusões insatisfatórias porque ignoram esse problema. Por fim, conclui que não há, de fato, uma inconsistência na teoria humeana da crença em objetos externos porque não é o caso que não possamos ter uma concepção de objetos externos para Hume. Essa concepção se origina de um sentimento ou instinto original da mente.<br>This paper aims to show that Hume's claim that we are unavoidably determined to believe in the existence of external objects has the delimitation of our meaning conditioned to the identification and resolution of an inconsistency present in Hume's theory of the unavoidable belief in external objects. This inconsistency expresses itself by the incompatibility between the claim that (P1) we unavoidably believe in external objects and the claim that (P2) we can't conceive external objects. These claims are incompatible if we recognize that Hume claims as well that (P4) we can't believe in something that we can't conceive. This problem arises only if we suppose that Hume univocally uses the expression "external object" in (P1) and (P2), and if we suppose that (P4) is the case, a reasonable starting point. The results indicate that both general views of the meaning of the claim that we unavoidably believe in external objects, the skeptical naturalism and the skeptical realism, arrives at unsatisfactory outcomes because they ignore that problem. Finally, concludes that there's not, actually, an inconsistency in Hume's theory of belief in external objects because it's not the case that we can't conceive external objects. This conception of external existences arises out of a sentiment or natural instinct of the mind.

Le mythe de Médée, reçu par la première modernité comme un paradigme complet depuis la Conquête de la Toison d’or jusqu’à son retour sur le trône de Colchide, compose un prisme à multiples facettes : « Médée-tueenfant » (La Péruse), le personnage légué par la tragédie attique et devenu archétype d’une violence contrenature, y croise Médée magicienne, qui bouleverse le lignage et la ligne du temps, mais aussi la princesse orientale éprise d’un héros civilisateur. Pétrie par la culture chrétienne et admise au répertoire des arts officiels, cette figure ambivalente se rend perméable aux recherches esthétiques et aux débats éthiques des Temps modernes, en vue de l’expression de l’horreur, de l’allégorisation de la gloire, comme dans la représentation des passions.Or, la fondation de l’Ordre de chevalerie de la Toison d’or au duché de Bourgogne, en 1430, jusqu’à la fin de la Guerre de succession d’Espagne où se redessine la carte des puissances européennes, fait de la fable un miroir fictionnel privilégié des jeux de pouvoir entre les grandes dynasties européennes, en tant qu’instrument du discours programmatique du Prince. Dans le paysage culturel d’influences communes que forment les Cités-États de l’Italie et le royaume de France, cette étude montre, par la réunion de l’iconographie de Médée, l’analyse de saprésence dans les imprimés et de ses réécritures à la scène d’après l’antique, comment les échanges entre les arts visuels et les arts du texte oeuvrent à l’établissement d’un motif héroïque paradoxal. Ou comment Médée « devient Médée », renouvelant le serment que lui avait fait jurer Sénèque : « Fiam »<br>The exceptional scope provided by the myth of Medea, which spans from the Conquest of the Golden Fleece to her return to the throne of Colchis, was received in its entirety by the Early Modern Arts and offers a multi-faced prism : Medea “tue-enfant” (La Péruse), the character left by the Ancient ancient Greek tragedy that became an archetypal figure of monstrous violence, crosses the path of the oriental lover of a civilizing hero, and also the enchantress who scatters lineages and timelines. Sculpted by the Christian culture and allowed into the official artistic repertory, this ambivalent figure absorbs the aesthetics and ethical debates of modernity. Indeed, Her Medea’s myth can be used for the expression of horror, allegories of glory, as well as expression of the passions.In addition, from the establishment of the Order of the Golden Fleece, by the Duke of Burgundy in 1430, to the end of the War of the Spanish Succession (which redefined the entire map of major European powers), Medea’s myth becomes one of the most efficient fictional mirrors of the political disputes between the most influential families of Europe, as an instrument of the publication of the Prince programme. Into the landscape of the cultural influences shared by the States of Early Italy and the French Kingdom, this study intends to show, by analysingthe spread of iconography of Medea, her presence in printed material and her classical performance reception and rewriting, how the exchanges between visual and literary productions work towards the definition of a paradoxical heroic standard. Where Medea “becomes Medea” and renews the oath that Seneca made her take: “Fiam”

The general aim of this research is the development of categories and codes (according to Saldaña's terminology, 2009) of the uses, functions and properties of the floor in dance. We have followed a methodology based on the qualitative analysis of a video corpus of dance works that were selected representive of a specific language (classical, modern and new dance) or as belonging to a particular historical moment (our research ranges from the end of the 19th century to the present), although some choreographies have also been included due to their contribution to the use of the floor in dance. In addition, this selection has been restricted by the availability of the works in video format. The final list of the works we have been analysing makes a total of 295 choreographies, 11 of which have been examined in depth so as to develop a qualitative codification. Once the categories had been established, the different aspects of the corpus of dances could be finally described and, in each category, the codes, which are the values of the dances, were also constituted. From the video-based qualitative analysis we propose different categories, grouped into three meta-categories focusing on the body techniques, the characteristics of the ground/floor, and the representation.<br>El objetivo general de esta investigación es el desarrollo de categorías y códigos (según la terminología de Saldaña, 2009) de los usos, funciones y características del suelo en la danza, por lo que hemos seguido una metodología basada en el análisis cualitativo de un corpus de videos de obras dancísticas, seleccionadas por ser representativas de un lenguaje concreto (clásico, moderno y new dance) o por pertenecer a un momento histórico determinado (nuestra investigación parte desde finales del siglo XIX y llega hasta la época actual), aunque también hemos incluido algunas coreografías que consideramos relevantes por su aportación respecto al uso del suelo. Esta selección también se ha visto condicionada a la disponibilidad en formato video de las obras. El listado final de obras sobre las que hemos trabajado ha sido del orden de 400 coreografías, de las cuales 11 han sido analizadas en profundidad para desarrollar la codificación cualitativa, estableciendo unas categorías de análisis que han permitido describir los diferentes aspectos del corpus de danzas, y en cada categoría, establecer unos códigos que son los valores que pueden adquirir las danzas. Este trabajo de visionado ha tenido como resultado del análisis cualitativo diversas categorías, y nos hemos centrado en las relativas al cuerpo, a las propiedades del suelo para la danza y a la representación..<br>Aquesta investigació te com a objectiu el desenvolupament de categories i codis (segons terminologia de Saldaña, 2009) dels usos, funcions i caracterítiques del sòl a la dansa, per la qual cosa hem seguit una metodologia d'anàlisi qualitativa d'un corpus de vídeos de dansa, seleccionats perquè són representatius dels diferents llenguatges (clàssic, modern i new dance) o perquè pertanyen a un moment històric determinat (la nostra investigació s'inicia a finals del segle XIX i arriba fins a l'època actual), encara que també hi hem inclòs algunes coreografies que considerem rellevants per la seua aportació a la dansa en l'ús del sòl. La selecció s'ha vist condicionada a la disponibilitat de les obres en format vídeo, essent un total de vora 295 les coreografies analitzades, de les quals 11 han estat treballades en profunditat per al desenvolupament de la codificació qualitativa, constituïnt unes categories d'anàlisi que han permés descriure els diferents aspectes del corpus de danses, i establint a cada categoria uns codis com a resultat dels valors que les danses poden adquirir. Aquest treball de visionat presenta, com a resultat de l'anàlisi qualitativa, diverses categories, i la nostra investigació s'ha centrat en les que són estrictaments corporals, les referides a les propietats del sòl en relació a la dansa i les de la seua representació.<br>Arnal Rodrigo, RV. (2017). El suelo en la danza: uso del cuerpo y propiedades del soporte [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90449<br>TESIS

L’imbrication de l’écriture et de la photographie sera examinée dans Les années, d’Annie Ernaux, de façon à montrer la tension au cœur du double désir de l’auteure de documenter des moments révolus et de les transmettre à autrui. Seront étudiées, d’un point de vue poétique et esthétique, la mise en œuvre des documents et les modalités d’inscription des souvenirs, lesquels sont généralement présentés sous forme d’images mémorielles. Nous verrons que ces images sont liées à un effet photographique, destiné au lecteur dans le but de partager une mémoire matérielle, intime et collective, s’étalant sur des années. Cet angle d’approche devrait permettre de relire Les années suivant une perspective critique nouvelle, et de contribuer aux recherches portant sur la narration, la trace et la mémoire dans la littérature contemporain.<br>The interweaving of writing and photography will be examined in Annie Ernaux’s Les années, showing the central tension of the author’s double desire to document past events and pass them on to others. The implement of documents and the engraving modes of memories are generally presented as mental images that will be studied here from a poetic and aesthetic point of view. We will see that those images are linked to a photographic effect, in order to share with the reader an intimate and collective material memory that spreads over many years. This approach would allow a rereading of Les années from a new critical perspective and a contribution to research about narrative, trace and memory in contemporary writing.

Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de certains documents visuels. La version intégrale du mémoire a été déposée à la Division de la gestion des documents et des archives.<br>L’espace urbain et l’espace architectural font partie de notre quotidien. Nous vivons cette spatialité sans nécessairement la prendre en considération, elle appartient à nos habitudes de déplacement. Dès le milieu du 18e siècle, la ville et l’architecture seront témoins de nombreuses transformations novatrices. L’espace moderne développera un nouveau langage, qui nous est aujourd’hui familier. Cette analyse s’intéresse donc à la transformation subie par l’architecture et plus largement par la ville, et aux répercussions que l’arrivée de nouveaux matériaux ainsi que de nouvelles technologies aura sur le bâti. C’est dans cette optique que le mémoire s’intéresse au complexe architectural du Bauhaus de Dessau. Située au nord de l’Allemagne, la petite ville de Dessau aura été la plateforme de grands changements architecturaux. Également, nous nous intéressons aux interactions entre les différents acteurs occidentaux (philosophes, artistes et architectes) oeuvrant à la même époque afin de réfléchir ces influences sur le développement des recherches architecturales de Walter Gropius et plus précisément, celui de son ensemble de Dessau.<br>The urban space and architectural space are part of our everyday life. We live this spatiality without necessarily taking it into consideration, it belongs to our habits of movement. From the mid-18th century, the city and the architecture will witness many innovative transformations. The modern space will develop a new language that is now familiar to us. This analysis therefore focuses on the transformation undergone by the architecture, and more broadly, by the city, and on the impacts that the arrival of new materials and new technologies will have on the structure. It is in this perspective that the study takes an interest in the architectural complex of the Bauhaus Dessau. Located in northern Germany, the small town of Dessau has been the platform of major architectural changes. Also, we will focus on different interactions between the various western actors (philosophers, artists and architects) working in the same period, in order to consider the possible influences on the development of the architectural researches of Walter Gropius, and specifically, of his complex in Dessau.

Dissertação de mestrado integrado em Arquitectura, Universidade Lusíada de Lisboa, 2015<br>Exame público realizado em 7 de Março de 2016<br>A presente dissertação reflecte sobre o princípio da Mnemosine como um ideal de memória. Assenta na leitura crítica de três metodologias reveladas na obra de três arquitectos. A expressão das suas memórias, a matéria e o lugar constituem as particularidades capazes de secundar ou libertar este ideal. Cada expressão arquitectónica reúne em si um legado de valores mnemónicos, hierarquizados por cada um. Compõem o espaço arquitectónico segundo a sua verdade temporal e atribuem ao Mundo sensível reconhecimentos. Como estrutura de sentido, a Arquitectura define-se sobre modelos que asseguram a identidade do espaço reconhecível. É através da leitura da sua composição que damos a liberdade aos nossos sentidos para se enquadrarem, reconhecendo-os como parte integrante do seu princípio mais elementar. A obra constitui-se como a expressão do ser vivente e a identidade do espaço construído é admitida numa contínua exploração da sua composição. É à cancela dos sentidos que a invenção arquitectónica se detêm, integrando-a como parte fundamental da sua praxis e do seu significado. As memórias individuais, o lugar da obra e a matéria que a constitui e revela, constituem os mecanismos sobre os quais a Arquitectura repousa para dar lugar à imaginação, que, mais que se encontrar no espaço sensível, manifesta-se na memória de cada um, vivida por cada um, e onde, de modo inteligível encontra, na obra, a sua intemporalidade. “Há que procurar em toda a arte [...] a frase silenciosa que ela contém, [...]”.

The central theme of this dissertation encompasses the importance of space, particularly the exhibition space, and how it has become part of the subject matter, as well as a medium in art. Some artistic practices of the 20th century, mainly in the 20s and 60s, both in Europe and the United States of America have provided the contextual foundation. The close relation between the architectural and exhibition spaces has become an intrinsic link to establish the existence of the three-dimensional work of art. The overarching importance of space in the contemporary artistic practice is visible through the creative and exhibition installation process, most notably in the artistic movements of Installation art and Site-specific. By carrying over the transformative contemporary art scene concepts to an institutional and museological context, paired with the inherent evolution of its practices, these have allowed for a convergence of the museological fields. With the intention of providing audiences a unique experience, curators and museologists have relied on site-specific practices. By inviting artists (typically featured in the current artistic scene) to develop projects specially thought for a specific museum space, this simultaneously allows for a dialogue between the work of art and the space. These temporary exhibitions have garnered the attention a more diverse audience. As a result sustainability and independence of the museums are a constant source of debate. The result of which has allowed for the broadening of the notions of how museums function and have integrated the audience as a main element of the strategies of the museum programming. The principles of the cultural marketing provide museums a clearer vision of the understanding of the different audience and their needs. Thus, the main goal of this study is to perceive the importance of the museum space in the relation to the artistic practice. While existing as a strategic resource of the museological program, insofar as having the ability to lure new audiences. It also matters to notice, if the fact of the artist working directly inside the museum, contribute to a narrowing of the artist/audience relationship, being the museum the mediation element

Tese de doutoramento em Arquitectura, Universidade Lusíada de Lisboa, 2016<br>Exame público realizado em 20 de Março de 2017<br>A presente Tese produz uma viagem a uma determinada profundidade, sobre a trilogia conceito-lugar-matéria, paradigmas que evoluíram em arquitectura entre os anos 60 e 90, e a coincidência dos mesmos terem acontecido no campo das artes plásticas nos anos 60 invadindo o campo tradicional da arquitectura. Este cruzamento ajudará a uma reflexão sobre uma determinada maneira de fazer arquitectura muito característica e própria da contemporaneidade a que temos chamado de arquitectura objectiva (de objectivo, ideia ou conceito). Optando pelo campo das artes plásticas em detrimento do habitual referencial da teoria da arquitectura ou da filosofia, opta-se pelo fazer ao invés do pensar, ou melhor, do pensar fazendo, já que se pretende que ao longo do trabalho as fontes (os autores) estejam representados na primeira pessoa, quer pelo que fazem, quer sobretudo pelo que dizem ou escrevem. Para afirmar a referida trilogia propõe-se uma viagem tripartida entre as experiencias Norte Americanas dos artistas da Minimal Art, Land Art e Conceptual Art, com passagem pelas arquitecturas do Lugar Português e da Matéria Suíça.