Literatura académica sobre el tema "Lien perception-Production"

Un mage fait disparaître la tour Eiffel devant une foule étonnée, mais son amante résiste à son charme, et s’inquiète de l’usage que l’on pourrait faire de ce pouvoir singulier. Comment, et pourquoi, l’amante voit-elle, alors que les autres ne voient pas? Comment, en définitive, résister comme elle au pouvoir trompe-l’oeil, délocalisé et trans-personnel, qui agit par la perception plutôt que par la force, en changeant les contours du paraître? Ces questions sont poursuivies d’après certaines lignes de réflexion parallèles de Marx et de Wittgenstein, qui s’étendent sur les dangers que l’amante du mage pressent dans cet art de la disparition. Les deux philosophes se posent comme les témoins qui « voient » à travers les actes d’illusionnisme qui déforment, pour l’un, notre perception des relations sociales et de leur lien aux rapports de production, et pour l’autre, notre compréhension des formes d’expression et de leur imbrication dans les formes de vie qui leur donnent sens. Et, comme l’amante du mage, ils « voient » dans ces disparitions et apparitions des enjeux considérables, autant pour le « public » que pour les acteurs de ces spectacles quotidiens, puisqu’ils impliquent le transfert du pouvoir des agents à des instances désincarnées ou mystérieusement animées.

Les élevages de porcs et de volailles sont souvent perçus comme «industriels» de fait du mode d’élevage en bâtiment et des rythmes réguliers de production. Cette perception entraîne l’image d’une organisation et d’une durée du travail très réglées et homogènes entre les élevages. Or, les études menées dans ces filières montrent une grande diversité d’attentes, de stratégies, de durée et d’efficacité du travail, en lien avec les évolutions structurelles du secteur. Ces évolutions sont différentes entre les deux filières : en production porcine, on observe une augmentation de la taille des ateliers, un arrêt du naissage pour les petites structures, la création de naissages collectifs et plus de salariat ; en production avicole, la concentration est modérée, liée au fort développement des productions alternatives et à l’absence de spécialisation des exploitations avicoles. En production porcine ces évolutions sont nuancées par l’analyse des structures européennes. D’un point de vue économique, toutes les stratégies peuvent être efficaces, les unes en réduisant les charges, les autres en maximisant la production par travailleur. A l’échelle des exploitations, il existe dans les deux filières une forte variabilité des temps de travaux entre exploitations, résultant principalement du type de bâtiment et d’équipement choisi, de la mécanisation, du type d’élevage, du nombre de bandes choisies, mais aussi de la place que donne l’éleveur à son atelier. Pour l’organisation du travail intra- et inter-hebdomadaire en production porcine, les différences résultent des choix de conduite en bandes et des pratiques de reproduction. Enfin le contenu du travail est en évolution : développement de compétences managériales, réduction des tâches exigeantes (via l'automatisation) remplacées par des travaux de surveillance, de gestion de l’information et de suivi de traçabilité.Pour conclure nous illustrons l’effet du changement d’un élément du système d’élevage sur le contenu, la durée, l’organisation ou la pénibilité du travail.

Qu’ils soient étatiques ou non, les acteurs qui évoluent dans un système officiellement plurilingue doivent tenir compte de l’existence de plusieurs communautés linguistiques. La question qui se pose alors est de savoir comment il est possible de communiquer politiquement dans un tel contexte. En particulier, il paraît essentiel pour l’existence d’une vie démocratique d’empêcher que les discussions ne soient cloisonnées par publics de langues maternelles différentes et donc d’assurer une coordination des messages entre les langues. Dans notre étude qualitative, nous nous intéressons aux dispositifs que trois partis politiques suisses ont mis en place pour assurer ce lien dans la production des périodiques destinés à leurs membres. Ces pratiques, que nous appelons « modes de coordination interlinguistique », peuvent impliquer, à des degrés divers, l’utilisation de la traduction. Au-delà de la description de ces modes, il s’agit de comprendre les logiques qui guident le choix d’une pratique particulière et qui sont définies comme l’ensemble cohérent d’éléments représentationnels et matériels, internes et externes au parti. Pour comprendre ces logiques, des entretiens semi-structurés ont été menés avec les responsables des publications, et les logiques qu’ils permettent de mettre en évidence ont ensuite été comparées. En particulier, l’accent est mis sur les éléments qui divergent d’un parti à l’autre et qui semblent expliquer l’adoption d’une pratique plutôt qu’une autre. Les résultats sont exposés selon trois grands thèmes : développement historique des publications, perception de la traduction et articulation entre stratégie politique et système de valeurs. De manière plus générale, l’étude suggère que de nombreux éléments entrent en ligne de compte dans la production plurilingue des textes politiques et que la situation est bien plus complexe qu’une simple distinction entre traduction et non-traduction.

L'agriculture d'abattis-brûlis, la production de bois énergie et l'absence de gestion des écosystèmes forestiers sont à l'origine de la dégradation et de la savanisation progressive de ces espaces. Ces phénomènes ont accentué les processus d'érosion dans les terroirs du village de Kinduala. Ils ont également conduit les populations à modifier leurs pratiques culturales en raison de la disparition progressive des espaces forestiers au profit des cultures sur savane. L'objectif de cette étude était de caractériser la perception locale des sols (typologie, évolution) par les agriculteurs d'un village de la population Batandu. Le temps de l'étude, il a été réalisé deux réunions villageoises, 36 prélèvements de sols de surface, 25 analyses physico-chimiques et étudié un profil de sol. En observant la couche superficielle du sol, les Batandu distinguent quatre types d'horizons (kanga, kibuma, nzielo, kiniengi) en fonction de leur couleur, texture et leur facilité à être travaillé lors des cultures. Ils associent préférentiellement leurs cultures avec le kibuma et le kiniengi. Les Batundu sont conscients de l'évolution de la couche superficielle de leurs sols sous l'influence des activités culturales et des pluies. Cependant, ils ne perçoivent pas clairement l'évolution de leurs sols sur une plus grande profondeur et son lien avec les processus d'érosion des sols en cours. Cette étude nous a permis d'identifier les connaissances des populations, leurs limites, et de proposer un schéma de processus d'érosion des sols. Pour freiner ce processus d'érosion des sols, des améliorations culturales devront être intégrées dans les Plans simples de gestion élaborés par les populations en complément des activités de reboisement et de plantations agroforestières à Acacia auriculiformis.

Across languages, there is a tendency to avoid length contrasts in the most vowel-like consonant classes, such as glides or laryngeals. Such gaps could arise from the difficulty of determining where the boundary between vowel and consonant lies when the transition between them is gradual. This claim is tested in Persian (Farsi), which has length contrasts in all classes of consonants, including glides and laryngeals. Persian geminates were compared to singletons in three different speaking rates and seven different consonant classes. Geminates were found to have longer constriction intervals than singletons, and this length effect interacted with both speaking rate and manner of articulation. In one of two perception experiments, Persian speakers identified consonants as geminate or singleton in stimuli in which the constriction duration was systematically varied. The perceptual boundary between geminates and singletons was most sharply defined for obstruents and least so for laryngeals, as reflected by the breadth of the changeover region in the identification curve. In the other perception experiment, subjects identified the length class of glides differing in constriction duration and formant transition duration. Longer formant transitions led to more geminate responses and to a broader changeover interval.

Le regard « étranger » est parfois celui qui permet, par comparaison, de cerner la spécificité d’une pratique en un lieu donné. Ces deux textes témoignent de la perception qu’on se fait, au Canada anglais et dans le Groupe de musique expérimentale de Bourges, de la richesse et de la variété de la production électroacoustique québécoise.

Le regard « étranger » est parfois celui qui permet, par comparaison, de cerner la spécificité d’une pratique en un lieu donné. Ces deux textes témoignent de la perception qu’on se fait, au Canada anglais et dans le Groupe de musique expérimentale de Bourges, de la richesse et de la variété de la production électroacoustique québécoise.

Music activates a wide array of brain areas involved in different functions such as perception, processing and execution of music. Understanding musical processes in the brain has multiple implications in the neuro- and health sciences. Challenging the brain with a multisensory stimulus such as music activates responses beyond the auditory cortex of the temporal lobe. Other areas that are involved include the frontal lobes, parietal lobes, areas of the limbic system such as the amygdala, hippocampus and thalamus, the cerebellum and the brainstem. Nonetheless, there has been no attempt to summarize all involved brain areas in music into one overall encompassing map. This may well be, as there has been no thorough theory introduced, which would allow an initial point of departure in creating such a mapTherefore, a thorough systematic review has been conducted to identify all mentioned neural connections involved in the perception, processing and execution of music. Communication between the thalamic nuclei is the initial step in multisensory integration, which lies at the base of the neural networks as proposed in this paper. Against this background, this manuscript introduces the to our knowledge first map of all brain regions involved in the perception, processing and execution of music.Consequently, placing thalamic multisensory integration at the core of this atlas allowed us to create a preliminary theory to explain the complexity of music induced brain activation.

Cet article étudie la bienveillance en éducation en l’opérationnalisant dans un dispositif d’évaluation continue pour apprendre durablement dans une université suisse. À la suite d’une production initiale, 64 étudiant∙e∙s ont rédigé un feedback sur un travail de pairs. Les étudiant∙e∙s ont répondu à un item de perception de la bienveillance des feedbacks reçus. Réuni∙e∙s en 30 forums, les étudiant∙e∙s ont ensuite fait ressortir des recommandations pour formuler un feedback bienveillant. Sont analysées les variations des perceptions de bienveillance pour un même feedback, les liens entre les contenus des feedbacks et la perception de leur bienveillance, et les recommandations exprimées. La discussion donne à voir le caractère subjectif et situé des perceptions de bienveillance.

Un nombre croissant d'études révèle combien les processus cérébraux de production et de perception de l'action sont intriqués. En particulier, on sait maintenant que la perception de la parole induit l'activation de représentations motrices articulatoires chez l'auditeur. Dans ce travail, nous explorons la perception de la voix chantée, une action vocale non-linguistique. L'écoute d'une voix chantée provoque-t-elle une activation du système moteur ? Cette activité motrice est-elle plus forte pour la voix que pour un son musical non-biologique ? Ces questions sont abordées en utilisant de façon complémentaire deux protocoles comportementaux, une technique de lésion virtuelle par stimulation magnétique transcrâniale, l'étude des oscillations en EEG et celle de la variabilité métabolique en IRMf. Nos résultats montrent que la perception d'une voix chantée est effectivement associée à une activité du cortex sensorimoteur dans des tâches de répétition et de discrimination. De façon intéressante, les plus mauvais chanteurs ont montré la plus forte résonance motrice. Le système moteur pourrait, par la génération de modèles internes, faciliter le traitement des stimuli ou la préparation de la réponse vocale quand le traitement acoustique seul est insuffisant. L'ensemble des résultats présentés ici suggère que les interactions audiomotrices en perception de la voix humaine sont modulées par la dimension biologique du son et par le niveau d'expertise vocale des auditeurs
A growing body of research reveals that action production and action perception interact. In particular, it has been shown that speech perception entails articulatory motor representations in the listener. In the present work, we investigate the perception of a singing voice, a stimulus that is not primarily linked to articulatory processes. Does listening to a singing voice induce activity in the motor system? Is this motor activity stronger for a voice than for a non-biological musical sound? Two behavioral tasks, a og virtual lesionfg{} paradigm using TMS, the study of brain oscillations with EEG and an fMRI experiment carried out during my PhD have shed some light on these questions. Our results show that the perception of a singing voice is indeed associated with sensorimotor activity in repetition and discrimination tasks. Interestingly, the poorer singers displayed the stronger motor resonance. The motor system could facilitate the processing of sound or the preparation of the vocal response by internal model generation when the acoustic processing is not effective enough. The set of studies presented here thus suggests that audiomotor interactions in human voice perception are modulated by two factors: the biological dimension of sound and the listeners' vocal expertise. These results suggest new perspectives on our understanding of the auditory-vocal loop in speech and of sound perception in general

La communication parlée peut être vue comme un processus interactif impliquant un couplage fonctionnel entre les systèmes moteur et sensoriel. L’objectif de ce travail de thèse est de tester ces possibles liens perceptivo-moteurs, aussi bien lors de la perception que de la production de la parole, au travers de multiples paradigmes comportementaux et auprès de différentes populations de participants. Le protocole expérimental mis en place est composé de trois paradigmes expérimentaux classiques : un premier paradigme de close-shadowing,visant à explorer le format partiellement moteur de stimuli auditifs et audiovisuels de parole ; un second paradigme permettant de mettre en évidence des corrélations entre la production et la perception de voyelles ; et enfin, un dernier paradigme d’imitation consciente et inconsciente de fréquence fondamentale.Suite à la validation de notre protocole expérimental auprès d’une population contrôle de jeunes adultes normo-entendants, nous avons étudié une seconde population constituée d’adultes normo-entendants séniors, et ceci afin d’évaluer la conséquence d'un déclin des fonctions cognitives et langagières. Les résultats obtenus ont permis de suggérer une activation fonctionnelle des liens perceptivo-moteurs lors de la perception et de la production de parole chez l’ensemble des participants. La troisième population testée était constituée de patients sourds post-linguaux puis implantés, afin de déterminer l'impact d'une déprivation sensorielle ainsi que les éventuels réapprentissages liés à leur implantation sur ces liens perceptivo-moteurs. De manièresurprenante, les résultats ont mis en évidence des relations sensori-motrices actives chez ces participants, et ce même très peu de temps après l’implantation. Pris ensemble, les résultats observés avec ces trois paradigmes expérimentaux et auprès de ces trois groupes de participants attestent de la nature perceptivo-motrice de la parole. De manière importante, malgré des performances dégradées, ces interactions entre systèmes sensoriels et moteur lors de la perception et de la production de parole resteraient fonctionnelles auprès des deux populations, celle des adultes normo-entendants séniors etcelle des patients sourds post-linguaux porteurs d’un implant cochléaire
Speech communication can be considered as an interactive process involving afunctional coupling between sensory and motor systems. The aim of this thesis was to test possible perceptuo-motor linkages during both speech perception and production, using distinct behavioral paradigms and populations. The experimental protocol was made of three classic experiments: a first paradigm of close-shadowing, aiming at exploring the partially motor format of audio and audiovisual stimuli; a second paradigm allowing to correlate production and perception of vowels; and a third paradigm of conscious and unconscious imitation of pitch. The experimental protocol was validated with a first group of young hearing adults. The second population studied was composed of elderly normal-hearing participants, in order to evaluate the consequences of both cognitive and linguistic declines. Results allowed us to suggest a functional activation of perceptuo-motor linkage during speech production and perception.The third population we tested comprised post-lingually deaf patients wearing acochlear implant. Our objective was to determine the impact of the sensorial deprivation and the re-learning processes, associated with their implantation, on perceptuo-motor linkages. Unexpectedly, results showed an active sensori-motor relationship in those participants, even shortly after the cochlear implantation. Altogether, our results confirmed the perceptuo-motor nature of speech. Importantly, in spite of degraded performances, these interactions between the sensory and the motor systems during speech production and perception remained functional in both the elderly normal-hearing population and the post-lingually deaf patients, wearing a cochlear implant

Les personnes malentendantes (HI) peuvent percevoir les sons de la parole à l'aide d'appareils auditifs (HA) et/ou d'implants cochléaires (CI). Par conséquent, des facteurs concernant ces dispositifs, tels que l’âge d’implantation, le type de dispositif utilisé et la durée d’utilisation du dispositif, peuvent affecter le développement de leur capacité de perception de la parole. Des découvertes récentes suggèrent l'implication des entrées somatosensorielles orofaciales dans la perception de la parole. Le développement de leur capacité de perception de la parole peut être lié à l'acquisition de cette intégration auditive-somatosensorielle dans la perception de la parole. L'objectif de cette thèse est d'étudier le rôle des entrées somatosensorielles orofaciales dans la perception et la production de la parole chez les individus HI et ayant une audition normale (NH).Dans une série d’études, la stimulation somatosensorielle orofaciale combinée à une déformation de la peau du visage a été utilisée comme outil principal. Cette stimulation somatosensorielle induit une modulation perceptuelle, qui est représentée par le déplacement de la frontière catégorielle dans la perception des voyelles, lorsque la stimulation a été appliquée avec le son de la parole. Cette thèse s'est principalement concentrée sur la façon dont cet effet somatosensoriel sur la perception est lié aux capacités de production et de perception.La première étude a examiné une relation entre l'effet somatosensoriel orofacial sur la perception de la parole et les performances de production chez les individus NH. L'ampleur de l'effet somatosensoriel dans la perception de la parole était positivement corrélée à la distance acoustique entre les voyelles cibles en production. Le résultat suggère que l’acquisition de performances précises de production vocale pourrait être associée à un plus grand gain d’intégration auditive-somatosensorielle.La deuxième étude a examiné si l'entraînement à la perception de la parole avec stimulation somatosensorielle modifiait la production de la parole. L'entraînement perceptuel était une tâche d'identification des voyelles avec stimulation somatosensorielle. Suite à cet entraînement perceptuel, la performance de production des voyelles correspondantes a été modifiée de manière fiable, alors que l'entraînement perceptuel avec les sons auditifs seuls ne l'a pas été. Les résultats suggèrent que la réception de paires spécifiques d’entrées auditives-somatosensorielles peut être importante dans l’apprentissage moteur de la parole.La troisième étude a examiné si les individus HI présentaient également un effet somatosensoriel sur la perception de la parole et comment cet effet était lié à leur capacité auditive. La capacité auditive des personnes HI a été évaluée par le seuil d'audition dans le bruit, obtenu à l'aide d'un test de parole dans le bruit, et par des facteurs concernant leur aide auditive. Les résultats ont montré que l’effet somatosensoriel variait en fonction de leur capacité auditive. Les utilisateurs de longue date d’HA qui présentaient également un seuil de bruit élevé ont montré un effet somatosensoriel significatif sur la perception de la parole. En revanche, les utilisateurs d’IC, qui avaient également un seuil d’audition relativement bas dans le bruit, ont montré peu ou pas de changements dans la perception de la parole dus à la stimulation somatosensorielle. Le développement de la capacité auditive basé sur l'expérience auditive peut affecter l'acquisition de l'intégration auditive-somatosensorielle.La quatrième étude a examiné si les individus HI présentaient une adaptation sensorimotrice en utilisant un feedback auditif altéré. Les résultats ont montré que les utilisateurs de CI à long terme ont montré une adaptation, mais pas les utilisateurs de HA. Étant donné que les utilisateurs de longue date d'IC ont pu identifier une petite différence auditive entre les stimuli auditifs synthétisés en tant qu'individus NH
Hearing-impaired (HI) individuals can perceive speech sounds with the help of hearing-aids (HA) and/or cochlear-implants (CI). Hence, factors concerning those devices, such as implantation age, type of device used and the usage duration of device, can affect the development of their speech perception ability. Recent findings suggest the involvement of orofacial somatosensory inputs in speech perception. The development of their speech perception ability may be related to the acquisition of this auditory-somatosensory integration in speech perception. The aim of this thesis is to investigate the role of orofacial somatosensory inputs in speech perception and production in HI and normal hearing (NH) individuals.In a series of studies, orofacial somatosensory stimulation associated with facial skin deformation was used as a main tool. This somatosensory stimulation induces perceptual modulation, which is represented by the shift of categorical boundary in vowel perception, when the stimulation was applied with the speech sound. This thesis mainly focused on how this somatosensory effect in perception is related to the production and perception abilities.The first study examined a relationship between the orofacial somatosensory effect in speech perception and production performance in NH individuals. Amplitude of somatosensory effect in speech perception was positively correlated with the acoustic distance between the target vowels in production. The result suggests that acquiring a precise performance of speech production can be associated with greater gain of auditory-somatosensory integration.The second study examined whether speech perceptual training with somatosensory stimulation modifies speech production. The perceptual training was a vowel identification task with somatosensory stimulation. Following this perceptual training, production performance of corresponding vowel sounds was reliably changed while the perceptual training with auditory sounds alone was not. The results suggest that receiving specific pairs of auditory-somatosensory inputs can be important in speech motor learning.The third study examined whether HI individuals also showed the somatosensory effect in speech perception and how this effect is related to their hearing ability. Hearing ability of HI individuals was evaluated as hearing threshold in noise, which was obtained using a speech-in-noise test, and factors concerning their hearing device. The results showed that somatosensory effect was varied depending on their hearing ability. Long-time HA users who also had high threshold in noise, showed large somatosensory effect in speech perception. In contrast, CI users, who also had relatively low hearing threshold in noise, showed little or no changes in speech perception due to somatosensory stimulation. The development of hearing ability based on hearing experience can affect the acquirement of auditory-somatosensory integration.The fourth study examined whether HI individuals showed sensorimotor adaptation using altered auditory feedback. The results showed long-time CI users showed an adaptation but HA users did not. Since the long-time CI users were able to identify auditorily small difference of synthesized auditory stimuli as NH individuals, speech sensorimotor adaptation in HI individuals can be similar to the one in NH individuals when they can receive proper auditory feedback by using hearing devices.In all, the development of auditory-somatosensory integration can be related to the development of perception and production abilities. Somatosensory inputs can play an important role in the development of speech perception in both HI and NH individuals

The typological differences between the two languages are reflected in the strategies adopted to mark sentence-level prominence. While English mark focus by modulating prosodic parameters (namely, pitch, duration and intensity), Italian normally recurs to word order strategies, benefitting from the freer word order admitted by its syntax. This study is aimed to investigate the acquisition of the prosodic marking of narrow non-contrastive focus by Italian speakers of English L2. This study was mainly aimed at: (a) determining and comparing the prosodic cues used by English native speakers and Italian speakers of English L2 when marking narrow focus; (b) verifying if the Italian speakers are able to acquire the English prosodic strategies in focus marking as a function of their competence in English, progressively avoiding the focus marking strategies that characterize their L1 in favor of more native-like solutions; (c) investigating the phenomenon not only at the production level, but also from the point of view of perception. Consequently, this work is composed by a production and a perception study. The production study consisted in the acoustic analysis of native and non-native productions. The speech data were collected using a semi-spontaneous method, where speakers recorded a set of short sentences as replies to wh- questions, with the aim of eliciting sentences presenting narrow focus on subject or on verb. Three groups of speakers were recorded: English native speakers NS), Italian native speakers with a higher competence in English L2 (NNS1), and Italian native speakers with a lower competence in English L2 (NNS2). A similar set of Italian L1 sentences was also elicited from the Italian speakers. The acoustical analysis was performed at sentence and word level, and it was mainly based on the measurement of fundamental frequency and duration. The results confirmed that English native speakers mark narrow focus mainly by modulating pitch. NNS1 showed a progress towards the target model, by implementing an active use of pitch, although not perfectly matching with the native one. Finally, NNS2 were not able to mark focus with the use of prosodic parameters. The analysis of the Italian L1 data set suggested that in Italian narrow non-contrastive focus is not marked prosodically. Not even duration, which in Italian is the prosodic cue normally used to mark prominence at word level seems to play a role in signaling prominence at sentence level. The perception study was designed to verify whether the differences shown by the acoustical measurements could also have an impact on the listeners' perception. Two perception tests were designed, based on a two-alternative forced-choice paradigm, where listeners were asked to identify narrow focus by guessing the wh- question that had triggered each sentence. Experiment 1 presented natural sentences to two groups of listeners: 22 British native speakers and 22 Italian native listeners. The Italian native listeners were also presented with an extra set of stimuli, consisting of the Italian L1 data set. The results of Experiment 1 showed that English native listeners could correctly identify narrow focus even without extra contextual information. This happened for NS and NNS1, whereas the listeners could not recognize focus in the productions by NNS2. The Italian listeners could also detect focus well above chance level in the productions by NS. However, they failed to identify focus in the productions by NNS1 and NNS2. As for the Italian L1 data set, the Italian listeners failed to distinguish narrow focus, providing perceptual evidence to the hypothesis that Italians do not mark narrow focus by prosody. Experiment 2 was designed to investigate the effect of the differences in pitch modulation on the correct detection of narrow focus by English native listeners. In this case, the productions of the speakers were acoustically manipulated. The participants were 20 British English native speakers. In general, the results of Experiment 2 confirmed that pitch plays an important role in the recognition of narrow focus also from the perceptual point of view. This is particularly true for NS productions, while the listeners could not successfully identify focus in the modified non-native productions. The results of the production study and the perception study converged in showing that in English pitch plays an important role in the production and perception of narrow non-contrastive focus. As for non-native productions, NNS1 could approach the native model to a certain extent by modulating "FO". From the perceptual point of view, their productions were effective enough to be successfully understood by English native listeners. In contrast, NNS2 had not managed to adopt the strategies of English, showing a poor prosodic characterization of the constituent in focus. As a consequence, the listeners could not identify focus in the NNS2 productions. These findings are particularly interesting not only for research in L2 phonetics, but also for their implications for language instruction, where prosody has only recently started to be studied and taught with renewed interest and momentum.
La differenza tipologica tra l'italiano e l'inglese si riflette nelle strategie adottate per segnalare il focus dal punto di vista fonetico. Mentre in inglese è possibile marcare il focus utilizzando solo indici prosodici (altezza tonale, durata e intensità), in italiano si ricorre più spesso a strategie sintattiche, traendo beneficio dal più libero ordine delle parole ammesso dalla grammatica. Questa tesi si propone di investigare la realizzazione fonetica del focus ristretto di tipo non-contrastivo da parte di parlanti inglese L1 e L2. In particolare, il presente lavoro di ricerca si pone l'obiettivo di: (a) determinare e confrontare quali sono gli indici prosodici utilizzati da parlanti nativi anglofoni e da parlanti italiani di inglese L2 per segnalare la posizione del focus ristretto; (b) verificare se i parlanti italiani siano in grado di acquisire le strategie applicate dai parlanti nativi anglofoni in funzione della loro competenza in inglese L2, abbandonando progressivamente le strategie trasferite da L1 in favore di soluzioni più vicine a quelle adottate dai parlanti nativi anglofoni; (c) investigare il fenomeno non solo dal punto di vista della produzione, ma anche sul versante della percezione degli ascoltatori. I primi tre capitoli della tesi sono dedicati all'introduzione del problema, alla sua inquadratura nel quadro teorico di riferimento (la fonetica acustica sperimentale) e alla rassegna critica della letteratura più rilevante. In questi capitoli introduttivi sono inoltre presentate le principali teorie dell'acquisizione della pronuncia in L2 e i principali problemi metodologici connessi alla ricerca sperimentale su L2, con particolare attenzione all'ambito della prosodia. Il Capitolo 4 presenta le metodologie e i risultati di quattro studi pilota condotti dall'autore di questa tesi, con il duplice scopo di ottenere dati empirici sulla prosodia dell'inglese parlato dagli italiani e di verificare l'efficacia di diversi metodi di manipolazione del segnale per la preparazione di stimoli sperimentali. La parte centrale della tesi è rappresentata da uno studio di produzione (Capitoli 5 e 6) e da uno studio di percezione (Capitoli 7 e 8). Lo studio di produzione consiste nell'analisi acustica di brevi frasi realizzate da parlanti inglese L1 e L2, raccolte in modo semi-spontaneo utilizzando un protocollo di registrazione in cui le frasi sono state elicitate come risposte a interrogative parziali (domande wh), in modo da stimolare la realizzazione di frasi con focus ristretto sul soggetto o sul predicato verbale. Sono stati registrati tre gruppi di parlanti: parlanti nativi anglofoni (NS), parlanti italiani con livello di inglese L2 avanzato (NNS1) parlanti italiani con livello di inglese L2 elementare (NNS2). I parlanti italiani hanno anche registrato un set di frasi in italiano dalla struttura simile a quella inglese. Basandosi sui risultati riportati in studi precedenti (Cooper et al. 1985; Xu & Xu 2005; Breen et al. 2010), si è ipotizzato che i NS segnalassero il focus utilizzando indici prosodici, mediante significativi cambiamenti a livello di altezza tonale, durata e intensità. Nel caso dei parlanti inglese L2, si è ipotizzato che i parlanti NNS1 mostrino un significativo avvicinamento al modello dei parlanti nativi nel fare proprie le strategie prosodiche di segnalazione di focus. D'altro canto, si è ipotizzato che i parlanti NNS2 non riescano a usare la prosodia alla maniera dei nativi anglofoni, ricorrendo alle strategie proprie dell'italiano. L'analisi acustica è stata effettuata a livello di frasi e parole, e si è focalizzata principalmente sulla misurazione della frequenza fondamentale (indice fonetico dell'altezza tonale) e della durata. I risultati confermano le ipotesi, mostrando che i parlanti NS segnalano la posizione del focus ristretto principalmente con la modulazione dell'altezza tonale, mentre i parlanti NNS1 mostrano un avvicinamento al modello dei parlanti nativi, utilizzando in modo attivo l'altezza tonale come strumento per segnalare il focus, anche se in modo non del tutto consono al modello dei parlanti inglese L1. I parlanti NNS2, invece, non sembrano in grado di differenziare le loro produzioni sulla base degli indici fonetici analizzati. Per quanto riguarda l'analisi del set di frasi in italiano L1, l'analisi acustica ha mostrato che quando parlano la loro L1, gli italiani non marcano il focus con indici prosodici. La durata, che è l'indice acustico normalmente usato in italiano per marcare la prominenza a livello di parola, non sembra giocare un ruolo nel segnalare la prominenza a livello di frase. I risultati dello studio di produzione hanno fornito le indicazioni per la creazione dello studio di percezione, con lo scopo di verificare se le differenze trovate nei risultati dell'analisi acustica trovassero un correlato nella percezione. Sono stati quindi creati due esperimenti percettivi, basati entrambi su un modello di risposta a scelta obbligata tra due alternative, in cui veniva chiesto agli ascoltatori di selezionare la domanda che aveva originato le singole frasi. L'Esperimento 1 è stato presentato a due gruppi di ascoltatori: 22 nativi anglofoni e 22 italiani, parlanti inglese L2. I parlanti italiani hanno ascoltato un ulteriore set di stimoli, composto da frasi in italiano. I risultati dell'esperimento mostrano che gli ascoltatori nativi anglofoni possono distinguere la localizzazione del focus ristretto sulla base della prosodia anche senza la necessità di ulteriori informazioni legate al contesto della comunicazione. Ciò avviene sia quando ascoltano i parlanti NS che quando ascoltano i parlanti NNS1, mentre il riconoscimento delle produzioni dei parlanti NNS2 non supera il livello di casualità. Gli italiani invece sono anch'essi in grado di riconoscere il focus nelle produzioni dei parlanti nativi, ma non ottengono risultati significativi per le produzioni di entrambi i gruppi di parlanti inglese L2. Per quanto riguarda le frasi in italiano, nemmeno in questo caso gli ascoltatori italiani non sono in grado di distinguere la localizzazione del focus, dimostrando che in italiano a livello percettivo gli indici prosodici in analisi (altezza tonale e durata) non sono abbastanza per riconoscere la posizione del focus. L'Esperimento 2 è stato ideato per investigare l'effetto della differenza nella modulazione dell'altezza tonale nella corretta distinzione del focus ristretto da parte di ascoltatori nativi anglofoni, mediante la manipolazione del segnale acustico. In generale, i risultati dell'Esperimento 2 confermano che l'altezza tonale gioca un ruolo importante nel riconoscimento del focus ristretto anche dal punto di vista percettivo, almeno per quando riguarda le produzioni dei parlanti nativi anglofoni. Questo non è però generalizzabile per quanto riguarda le produzioni in inglese L2, dove i risultati degli ascoltatori non si allontanano significativamente dalla soglia della casualità, in nessuna delle condizioni sperimentali. In conclusione, i risultati dello studio di produzione e dello studio di percezione convergono nel mostrare che in inglese l'altezza tonale gioca un ruolo fondamentale nella produzione e nella percezione del focus ristretto di tipo non-contrastivo. Per quanto riguarda le produzioni in inglese L2, i parlanti NNS1 sembrano in grado di avvicinarsi al modello nativo, almeno in una certa misura, con risultati apprezzabili sia dal punto di vista dell'analisi del segnale che della percezione acustica. I parlanti NNS2, invece, sembrano essere incapaci di adottare le strategie proprie dell'inglese, trasferendo in L2 le strategie tipiche dell'italiano, come si evince dal confronto con i risultati ottenuti nella produzione e percezione delle frasi in italiano L1. I risultati riportati in questa tesi sono interessanti non solo per la ricerca fonetica, ma anche per la loro possibile applicazione nell'insegnamento e apprendimento delle lingue straniere, dove la prosodia sta iniziando a essere studiata e insegnata con rinnovato interesse e vigore come parte integrante dell'acquisizione di una corretta pronuncia in L2 (Busà 2012).

Cette thèse s’intéresse aux utilisations de la musique instrumentale pour la didactique de la prononciation du français comme langue étrangère/seconde (FLES). Elle s’inscrit dans une perspective plurielle et un cadre théorique émergentiste et socioconstructiviste. La thématique est abordée par trois études (1) psychosociale, (2) psychoacoustique et (3) didactique permettant de questionner à plusieurs niveaux les apports potentiellement développementaux de la musique instrumentale pour la prononciation du français en contexte FLES.Le but de cette thèse est une contribution à la didactique des langues afin d’apporter des réponses empiriques à des pratiques pédagogiques présentes depuis longtemps mais peu questionnées scientifiquement. Elle permet également de prendre du recul sur les récents résultats en neurocognition et notamment leurs applications pour un développement langagier.L’étude 1 psychosociale, par questionnaire, montre que la didactique de la musique peut nous aider à amener les apprenants à se focaliser sur le son plutôt que sur le sens des unités sonores langagières. L’étude 2 psychoacoustique révèle que les musiciens ont de meilleurs temps de réaction que les non- musiciens chez des apprenants du français pour un test AXB d’oppositions fines des phonèmesvocaliques du français. Grâce à l’étude 3, didactique interventionniste et quasi-expérimentale, nous avons montré qu’une association entre notes de piano et aperture suggère une potentialité développementale des phonèmes vocaliques du français mais que cette dernière n’est pas supérieure à d’autres approches plus conventionnelles. Cependant, elle semble être un apport cognitif pour certains apprenants même si cet apport montre une tendance bimodale. Ces trois études permettent de montrer que la musique instrumentale peut trouver sa place dans la « boîte à outils » de l’enseignant
This work deals with the use of instrumental music in the teaching and learning of French as a foreign language. It is part of a pluralistic theoretical framework and an integrated approach of emergentism and social cultural theories. The topic is discussed through three studies: (1) a psychosocial study, (2) a psychoacoustic study and (3) an applied linguistics study – questioning at different levels the potentially developmental intake of instrumental music for French pronunciation as a foreign language.The aim is a contribution to applied linguistics in order to bring empirical data to long-lasting pedagogical practices but also to question recent neurocognitive results in an applied perspective. The first study, which is psychosocial and was led by questionnaires, shows that music learning and teaching can help us to have students focus on sound rather than meaning. The second study, which is psychoacoustic, reveals that, among learners of French, musicians have better reaction times than non-musicians to an AXB discrimination test of close French vowels. The third study, which is quasi- experimental and in intervention, suggests that associating piano notes and vowel aperture doesn’t lead to bigger developmental intake compared to more conventional approaches. However, it seemsto point out to the fact that some learners experience cognitive input even if such impact evokes bimodal tendencies. These three studies prove that instrumental music can be a tool to assist teachers

Il a été montré que les capacités de production de la parole sont étroitement reliées aux capacités de perception auditive. Par exemple, les locuteurs sourds profonds voient leurs voyelles et consonnes significativement altérées. L'implantation cochléaire est un outil de choix afin de restaurer, du moins partiellement, le feedback auditif. Cette étude vise à décrire la production et la perception de la voyelle [u] et à établir des liens entre l'accès au feedback auditif et la performance à une tâche de compensation à une perturbation labiale. Le paradigme des perturbations labiales consiste en l'insertion d'un tube entre les lèvres du locuteur, bloquant ainsi l'un des principaux articulateurs. Ce faisant, le locuteur est forcé de retrouver une stratégie alternative de production de [u] à l'aide de la perception auditive de sa propre production. Quatre locuteurs sourds ayant un implant cochléaire ont été enregistrés lors de la production des mots « au goût » (/ogu/) avec ou sans leur appareil; et en condition normale ou perturbée (tube labial). Des données acoustiques et articulatoires ont été recueillies en enregistrant les mouvements de la langue par échographie et la parole de locuteurs sourds et entendants. Les mêmes sujets ont aussi effectué un test de catégorisation auditive avant et après la tâche de production. Les analyses formantiques démontrent un important effet de groupe sur le premier formant, tant en condition perturbé que non-perturbée. Les résultats indiquent aussi que la dégradation du feedback auditif à long-terme affecte la fréquence fondamentale chez les sourds. En ce qui concerne l'articulatoire, les différences interindividuelles sont davantage ressorties que celles intergroupes. En somme, sur le plan articulatoire, les sourds et les entendants ont autant compensé à la perturbation labiale. La régulation du premier formant chez les sourds indique cependant que la rétroaction auditive influence des paramètres segmentaux de la parole sans pour autant affecter globalement la production de la parole. Pour ce qui est des résultats au test de perception, les locuteurs sourds semblent avoir une représentation moins claire du contraste [u]/[o] que les entendants. L'impact de la tâche de phonation sur la perception de la parole a été de concentrer les réponses données autour d'un stimulus. Considérant globalement les données de cette étude, nous croyons que les représentations de la parole sont de nature multisensorielles et intègrent les informations changeantes des feedbacks afférents. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Phonétique, Surdité, Production de la parole, Perception, Perturbation articulatoire.

Inner speech lies at the chaotic intersection of numerous difficult questions in contemporary philosophy and psychology. On the one hand, inner speech utterances are private mental events of a kind. On the other, they resemble speech acts of the sort used in interpersonal communication. Thought and its linguistic expression appear to overlap. Further, inner speech is at once imagistic in nature, having a characteristic auditory-verbal phenomenology; yet it also appears suitable to carrying complex linguistic contents. In another apparent clash, inner speech episodes seem to constitute or express sophisticated trains of conceptual thought; yet, at the same time, they are deeply motoric in nature, drawing on mechanisms for speech production and perception more generally. Also, in using inner speech, we seem able both to regulate our bodily actions and, arguably, to gain a unique kind of access to our own beliefs and desires. Finally, disorders as “thought insertion” and auditory verbal hallucinations are plausibly explicable in terms of the malfunctioning of mechanisms governing speech production and perception. But there is still little on what those mechanisms are, nor in how they might be involved. This interdisciplinary volume—comprising twelve chapters by philosophers, psychologists, and neuroscientists—capitalizes on growing interest in the many questions surrounding inner speech and presents a range of new theories concerning both its nature and location within these important debates.

AbstractThe unit overview is focused on the creation of art and aesthetic objects. Given the fact that the line between art and non-art has become thinner and thinner during the last decades, we pursue the creation of a varied number of visual media, ranging from classical portraits to selfie and selfie-editing behaviours. Also, we bring into view authorship issues, arising both from classical art philosophy and contemporary situations, such as AI-generated art. The function and meaning of portraits across the ages is a key part of the discussion in this chapter, treating art as utilitarian and aesthetic at the same time. Moreover, the reasons for creating art lay at the center of trying to analyze art creation from a neurological perspective. Defining the artist/creator and establishing his or her position as aesthetic expert becomes crucial in this respect. We present the current limitations in the field of neuroaesthetics regarding art and portrait creation and we try to re-contextualize research from the perception field of neuroaesthetics and apply it to the art-production field.

Ce chapitre se focalise sur le développement de l’humour, sa perception et sa production pendant les premières années de vie ainsi que ses fonctions. Il fait le constat que de nombreux enseignants utilisent depuis longtemps diverses formes d’humour en classe. Les effets variés de cet usage sont présentés, tels que le renforcement du lien enseignant-élève, l’amélioration du climat éducationnel et l’amélioration des apprentissages et des mécanismes associés.

The chapter gives an overview about the use of Virtual Reality (VR), Augmented Reality (AR), and Mixed Reality (MR) for trainee in company. In this vein, the case of BOSCH company is summarized. The chapter provides insights about the use of these technologies in Bosch company. Future research directions and conclusions are presented. In the future, AR will have transformational impact on Humans in the Digital World. The augmentation of human mind and human perception with digital tools will lead to have transformational impact on humankind. New applications will be provided for: Maintenance & Production Training, Remote Support (expert), Real-time machine/equipment status, & monitoring with failure analysis using an OPC unified architecture. Also, Product development (preview products before development), Production line simulation (preview production lines work steps before industrialization phase), and creation of collaborative classrooms.

Two vast surveys of French literary and learned production, both with the title of Bibliotheque, were published in 1584 and 1585, compiled respectively by François Grudé de la Croix du Maine and Antoine du Verdier. In addition to promoting the author function, each promotes the family function too. But La Croix du Maine does so more than Du Verdier. And La Croix du Maine’s Bibliotheque makes social status a driving force in the production of works of literature and learning by families. He represents some families as having collective literary qualities that are possessed by some of its members. He shapes our perception of the literary field by attributing actual or even just potential literary agency to families, including to individuals whose claim to such agency lies largely in their belonging to a given family rather than in their having produced works themselves.

This chapter presents the perception of university teachers about the university, the most recent changes and how they have influenced their activity. The phenomenographic study was conducted with 10 university teachers, nine females and one male with more than 15 years of professional activity. The perception of the university emerges, in the teachers’ voice, focused on the description of its mission, namely as a context for the production and diffusion of knowledge to society, as a space for creative and critical thinking about the world, as an interdisciplinary space and as a system focused on teaching and research. It also includes characteristics related to its structure and functioning, such as the level of hierarchization, bureaucratization, competitiveness, dehumanization and bibliometrics overvaluation. Regarding the perceived changes, they are related to the structural reforms resulting from the Bologna Process, diverse student populations, research and internationalization, new technologies, institutional cooperation, bureaucratization and relationship with the community. Teachers also revealed some dissatisfaction in the way they are experiencing university life due to the overwork resulting from the multiple tasks required in the four activity strands (teaching, research, management and extension) with an impact on quality and innovation, but in line with what the institution demands.

James Underwood supplements recent scholarship on the poetry of Stevie Smith by focusing on the problem of personality. One word that has come to be associated with Smith and her work is ‘eccentric’. Whilst certain variations on this word may be intended as praise, the perception of eccentricity has been offered in lieu of actual integration into twentieth-century literary history. The essay opens up Kristin Bluemel’s argument that we require an entirely new category of literary history to properly comprehend the achievement of an intermodernist writer like Smith. Philip Larkin’s intervention in reviewing Smith’s work and later in creating an archive at the University of Hull is assessed alongside her own seizing of the means of production by the performance of her poetry and her personality in the early 1960s, a move which enhanced her poetic reputation at the same time as it played to the reputation she was given.

<em>Abstract.</em> —Long-lived marine species are particularly vulnerable to human perturbations for reasons related both to the species’ demographics and human perception. Marine turtles provide an illustrative example: species delay maturity from 10 to as late as 30–60 years, and human monitoring of turtle populations focuses primarily on nesting adult females and nest production. Apparently marine turtles are trading early reproduction for later reproduction at a larger size, facilitating higher fecundity to overcome variable, often very high, natural mortality in eggs and early life stages. Human perturbations increase mortality of marine turtles at all life stages. However, population modeling has shown that annual survival of some stages, particularly large juveniles and adults, may be particularly critical to population maintenance and recovery. At the same time, monitoring focused on the larger, usually older, life stages of long-lived marine species may be a relatively poor indicator of actual population health and trends. High bycatch of long-lived marine species in long-line fisheries is outlined and concerns raised. Precautions, based on long-lived species’ vulnerability and the limitations of our ability to adequately monitor population status, should be built into management regimes.

Music of the so-called ‘Old Greek Cinema’ of the 1950s to the early 1970s plays a fundamental role not only in the construction of the films’ narrative milieu, but also in the formation of a distinctive, hybrid cinematic soundscape, which is characteristic of Greek film and popular music production of the period and crucial for their perception and reception by the audience. Particularly, in line with neo-noir film music of the post-classical era, Greek film noir heavily depends on the incorporation of jazz music styles, textures, and practices but this relationship has not been investigated in detail. Mimis Plessas – a remarkably prolific composer of mainstream cinema – has been widely acclaimed as the composer who integrated a jazz feeling into Greek film music of the aforesaid period. By providing a critical examination of Plessas’s soundtrack for the film Eglima sta paraskinia / Murder Backstage (Katsouridis, 1960), this chapter draws attention to the performative practices of audiovisual representation in early Greek film noir and the ambiguous qualities of Plessas’s scores as a means to explore mixed cultural identities, collective memories, personal emotional situations, and the osmosis between everyday life and the social imaginary during the early 1960s in Greece.

Abstract This part of the monograph presents an assessment of the impact that language processing makes upon language change. The procedure will be the same as in the previous part. As before, the order of the individual sections is from phonological to higher levels. To begin with, the most basic issue will be addressed. If the germ of language change lies in the psycholinguistic principles underlying speaking and listening—if, in other words, the key to diachrony is to be found within synchrony —we should expect the patterns of language change to mirror the patterns in speakers’ and listeners’ spontaneous behaviour. By ‘patterns’ is meant not only the classificatory system that is considered appropriate to the description of the data but also the more specific characteristics that can be observed. The term’behaviour’ also requires explication. Since our interest is in the dynamics of change and since change involves the deviation from a norm, it is instructive to study deviant processing events, i.e. those outputs which do not conform to the current norm. From the production perspective, these deviations are referred to as slips of the tongue, from the perception perspective, as slips of the ear. These psycholinguistic data therefore provide the starting-point for the majority of the analyses to follow.

Maximizing the life quality of individuals and providing a high level of health services to people is the main goal of the health system. The externality feature of healthcare services requires the state to assume basic responsibilities in the provision of health care services. During the COVID-19 pandemic, handling health as a public service and the importance of service delivery with a philosophical perspective based on the principles of inclusiveness, equity, and solidarity has become evident. The health system, which has a dynamic structure, has experienced a much faster change and development process in the pandemic process. During the pandemic period, it is important to evaluate the positive and negative aspects of experiences in service delivery, to adapt the services to changing conditions, and to take an organizational and holistic approach in solving the problems.From a social perspective, treating the masses in infectious diseases is much more difficult and costly than preventing the occurrence of the disease. The importance of preventive health services and primary care service structuring within the health system is better understood in this process. In the post-pandemic period, It will be important to experience changes and transformations health system such as the solution of labour and infrastructure problems in the health service system, establishment of a system based on quality and efficiency, strengthening the production capacity of our country(Turkey) in all areas, bringing our country that meets both needs and exports, revising the medical education in line with the needs, increasing cross-sectoral cooperation and health literacy of the society. Most importantly, attempts should be started to establish the referral chain by seeing the opportunity of social perception about primary services during the COVID-19 pandemic period.

« Faire » un énoncé artistique, c’est toujours, au départ « faire un point », fût-il grain du pigment archaïque, point de la peinture (Kandinsky), point-écran de la vidéo (Kuntzel) ou pixel de l’écran informatique. Ce grain-point qui détermine la genèse du visuel procède de pratiques différentes selon qu’il manifeste une intentionnalité rituelle (Leroi-Gourhan) ou esthétique. Il suggère également des rapports distincts à l’énonciation et plusieurs définitions épistémologiques : le grain est posé ; avec un liant, il devient peinture et se dispose au geste du peintre tandis que le pixel, échangeur entre l’image et le calcul mathématique, se « fait » à l’écran.Qui « fait » ? (quelle instance) et que « fait »-il (poser, tracer, composer à l’écran…) ? On voit aussi que le lien intime qui relie, par-delà les âges, le pigment de la Préhistoire au pixel d’aujourd’hui, sous-tend des modèles génératifs et des régimes sémiotiques distincts (l’alternative représentation/simulation de Couchot). La différence porte de même sur les rapports à la perception, l’effet « pelliculaire » du pixel renouant avec celui du pigment mais s’opposant résolument aux profondeurs de la peinture. Pourtant, en dépit de ces différences, une ressemblance essentielle subsiste qui tient au caractère veridictoire du grain-point. En effet, c’est toujours ce grain-point qui, devenu ligne (Kandinsky) et figure, déclare l’image comme telle, qu’il trahisse sa fiction au travers du flou ou du carré insistant du pixel-art. Par cet effet métadiscursif, il révèle que l’image a été faite et relève bien d’un « faire » poïétique séparé de l’être, quand bien même elle paraît-être. En ce sens, la « vérité » des images tiendrait moins à la collusion du paraître et de l’être que consacre le carré de la véridiction qu’à une déhiscence fondamentale entre l’être et le « faire ».

Abstract Electrical Submersible Pump (ESP) is an artificial lift that often associated with big production rate, which is at least 300 bbls/day. ESP also has limitation in handling unconsolidated sand reservoir, high GOR wells, and minimum casing ID. As technology flourished, these handicaps for an ESP well are no longer valid. A breakthrough was established for ESP utilization. However people's perception of ESP persists. Extreme well ESP is changing that perception. There are three types of extreme well ESP: high solid content, high GOR, and slim-line ESP. High solid content ESP has open impellers. This type of impeller creates no space between impeller and diffuser, hence no solids accumulation. Multiphase pump (MPP) is used to handle high GOR problem. MPP stage design has axial screw type impeller and gas handling diffuser. Gas from reservoir fluid will be compressed and broken into smaller bubbles resulting in homogenous gas-liquid mixture, hence no gas lock during production. For well with small casing ID e.g., 4-1/2" casing, slim-line ESP with 3.19" outside diameter is utilized. These three types of extreme well ESP were all utilized in Central Sumatera Asset of Pertamina EP. High solid content ESPs were installed in five wells (MJ-134, MJ-132, MJ-128, STT-25, and KTT-23) in four different structures with production range of 30 to 1200 bbls/day. Basic Sediment (BS) number in this asset varies from 0.1% up to 40%, which results in suspending wells and repeating well services. In wells MJ-134, high solid content ESP was able to produce up to 50% BS number at the beginning of production. It showed excellent lifting capability in severe sand problem condition. While in wells STT-25 and KTT-23, utilizing high solid content ESP increases well's lifetime and generates gain in production. High GOR ESPs were installed in wells PPS-01 and SGC-15. Both wells has around 2000 scf/stb GOR. Conventional ESP would have a hard time producing these gassy wells. By using MPP, well PPS-01 produced smoothly and even later optimized to have bigger production. Producing well SGC-15 faced another handicap in form of scale deposition. Scale preventer was also installed for this well. Slim-line ESP was installed in well BJG-01 that has 4-1/2" casing. Grossing up the wells with slim-line ESP contributes production gain. Since October 2019 this project has produced cumulative production of 56,199 bbls oil and counting, and been considered successful in solving extreme well problems. Being proven able to handle high BS number, high GOR, and produce well with small casing size, extreme well ESP is altering old mindset in ESP utilization. All of handicaps mentioned above were redeemed obsolete. This breakthrough starts the dawn of new perception in artificial lift selection.

<div class="section abstract"><div class="htmlview paragraph">In this paper, we present the concept of automated park and charge functions in two different use cases. The main use case is automated driving in production and the other use case is within automated valet parking in parking garages. The automated park and charge in production is developed in the scope of the publicly funded project E-SELF in Germany. The central aim of this project is the development and integration of automated driving at the end-of-line in the production at Ford Motor Company's manufacturing plant in Cologne. The driving function thereby is mostly based upon automated valet driving with an infrastructure-based perception and motion planning. Especially for electric vehicles, the state of charge of the battery is critical, since energy is needed for all testing and driving operations at the end-of-line. In addition, long shipping, combined with a specific state of charge requirement at customer delivery, require recharging at the production facility. This recharging process is also an automated process with a robot and demands direct connection to the driving function. The main scope of this paper is the introduction of an energy demand calculation for the necessary charging operations. The developed tool allows multiple analyses for identifying further potentials in the production line. Based on a study of a Ford Mach-E it showed, that the highest energy demands are due to battery self-discharging during standstill, especially in the summer months. For a transport to the customer by train and truck, an energy demand of 2kWh within the production facility is estimated. Longer transport times, e.g. when the vehicle is shipped to the customer, the energy demand increases up to 4 kWh. Depending on the vehicle and application, the developed toolchain allows future optimization of recharging processes and also promotes automated park and charging, where the demands can be individually calculated by the park management system.</div></div>

From the first Neanderthals and Sapiens civilizations to the current world powers, human evolution was driven by its own will to develop, grow, discover, innovate and consolidate. Walking through the history of Humanity is witnessing an entire social, cultural and political evolution, understanding how the Society can shape the individual, and how the individual constitutes the Society. At the centre of this evolution is the brain, as the architect, engineer and executor of all this evolution. The cortical macrostructures of this organ – reptilian, limbic and neocortex systems are responsible for the instinct of preservation and reproduction of the species, but they also imagine and conceive solutions for the most varied daily demands, from simple problems to critical complexities. Its internal structures, such as amygdala, frontal lobes and corpus callosum, in addition to processing all the inputs of the senses – smell, hearing, touch, etc – form neurochemical social bonds, which guarantees preservation, but also manage an almost infinite range of emotions and interactions. The perception, the result of this whole process, in addition to forming a mental projection of the environment, recognizes opportunities and risks, generating an individual and social memory regarding the dangers of everyday life. When this perception is faced with the First Industrial Revolution, the safety at work will be associated with industrial equipment, organizational culture, workplaces, as well as the natural and evolved perception of risk of each individual – a software present in the hardware of the brain’s structures since the first civilizations. Following this evolution, work systems also evolved from simple linear production lines to complex sociotechnical workplaces, involving people, equipment, processes and organizational culture. The methodologies and tools designed to understand these risks, however, do not evolve at the same speed, persisting a misconception that current workplaces can be analysed, in relation to risk, like a linear production line. In this aspect, integrating the concepts of neurosciences, sociology, engineering and ergonomics, but not limited to these, the Human Factors approach, which is integrative and multidisciplinary, brings a systemic understanding of work environments, understanding and demonstrating the real complexity present.

The flange inspection associated with piping on offshore production facilities is a time-consuming activity as the flanges should physically be opened in order to perform close visual inspections. In order to sustain maintenance integrity, a number of inspections are allocated for a subsystem based on factors such as: condition of the medium flowing in the line, risk perception of the pipeline system, and the date of installation. Inspection teams recommend inspections based on the data, experience, and exposure to offshore production facilities, as well as the intuition and intentions of those individuals involved with inspection planning and with carrying out implementation during the preventive maintenance shutdowns. However, there is a tendency for the operating company representatives to raise queries with the contractor company representatives about the number of flanges to be opened during the preventive maintenance shutdown as flange inspection consumes a considerable portion of time and resources. Hence, it is vital to interpret sensibly the importance of recommending close visual inspections for flanges if the maintenance integrity is to be sustained. This study focuses on analyzing the historical data limited to flanges on flowlines over the last fifteen years. The final results provide a snapshot of the present status of the flanges of the production facility.

Abstract This paper summarizes the latest developments in robot-to-robot collaboration for fixtureless assembly. In addition, some of the technology challenges and potential applications in the automotive industry are described. Fixtureless assembly systems have been developed to increase the flexibility of body shop systems. These systems eliminate the need for using dedicated fixtures to set the geometry of body assemblies. A key technology enabler for a fixtureless assembly process is robot-to-robot collaboration based on perception and advanced control solutions. In a fixtureless assembly process, robots move and hold parts together in the geometry setting pose for assembly instead of using fixtures. In this paper the technology requirements and performance results of a production-relevant demonstration cell are presented. Moreover, the technology and performance requirements to use the fixtureless approach in other automotive assembly applications are reviewed. Results show that dimensional performance from the newly developed fixtureless process was acceptable and within the tolerance range. Initial cost estimate show that a fixtureless process offers a significant cost benefit over a conventional assembly process, especially for a multi-style production line or when new styles are frequently introduced.

Abstract As part of the quality assurance process in industrial production, employees make hundreds of decisions every day based on their experience and the given inspection specifications. The detection of quality deviations currently depends on the individual competence of the persons involved in the production process. With the automatic recognition of textured surfaces in camera images, valuable information can be given to support these persons in their decisions. For the design of augmented reality systems, the cognitive decision-making processes are first described in a model-based way and the requirements for design of the decision-making process are defined. The different lighting environments in the industrial process represent one of the important requirements of the augmented reality system, to function independently of the lighting. The good perceptibility of the information is the basic requirement for the recognition of contents. When implementing an augmented reality system, it is problematic to consider the different illuminance levels in a room. Depending on the task at hand, usually, the light at a machine is weaker and brighter in the quality control area. It is important that user-centered implementation is observed. Manual intervention by the end user in the augmented reality system is necessary to compensate for differences in brightness. This paper examines different lighting environments and the degree to which the user can clearly see content. An empirical evaluation is conducted to examine the clarity of content in AR. The aim is to find out how the difference in contrast at different lighting situations influences the differences in brightness of colors. The colors are chosen to display content but also to emphasize content. As a result, a usage recommendation can be made for grey values as well as for different color values. The consequence of this investigation is then used for the further development of sample solutions for the design of an augmented reality system. The focus lies on the user-centered development process and thus the integration of user requirements into the technical implementation should be ensured. The perceptibility of the information in an augmented reality system should not only play a role technically, but also physically. The perception of information is omnipresent, so one can perceive our environment. With the help of the study, a natural and easy perception of information should take place, which supports the recognition of important information in the everyday working environment.

Abstract Electric line deployed well intervention technologies are continuing to grow in use and relevance, this is due to the value provided by a highly efficient and effective means of intervention. It is light on equipment, personnel and logistics, is controlled and precise in its in-well execution, and is less obtrusive to the wellbore, the reservoir and the environment. These valuable characteristics are making electric line deployed solutions the preferred choice of customers for many interventions, whether that be for addressing new well completion, old well rejuvenation or repair, or eventual plug and abandon (P&A) operational scope. Preference is also increasing with those customers who are keen to push the boundaries of these technologies to leverage their beneficial impact across a broader range of intervention operations. Often, the tasks or workscope assigned to electric line deployed intervention technologies are reserved for what would be considered the lighter end of the spectrum, for example, low volume debris cleanout, small component milling and low force tool manipulation. However, as full system-based intervention technology platforms are developed, incorporating advanced interconnected technology components, the magnitude of what can be achieved has expanded electric line intervention solutions into the realms of work scope previously reserved for heavier methods, like coiled tubing or drill pipe based. That, coupled with the efficient and precise execution and inherently light footprint that electric line deployed intervention brings, is adding to the increased interest in expanding its use. Two recent electric line deployed wellbore cleanout operations carried out on the Norwegian Continental Shelf involving high volumes of debris demonstrate the advantages this advanced intervention technology platform has enabled, the scalability of its performance, and why it is challenging the traditional thinking and perception of what is possible on electric line. In the case operation 1, extensive volumes of produced sand had accumulated in a large mono-bore completion preventing the execution of a required P&A operation. In case operation 2, the well had significant Barium Sulphate (BaSO4) scale deposits over much of its length, which prevented well access for a required gas lift valve (GLV) change out. In both these cases, efficient and effective electric line deployed remediation was possible due to the increased performance, in-well task visibility and real-time task control provided by the advanced electric line intervention technology platform that was utilised. Attempting both these cases was strongly encouraged by the customer, leading a one team approach. For case operation 1, high speed tractor conveyance speeds of over 26 meters/minute were achieved on this multi-run operation. Instrumentation provided real-time indication of collection chambers being full, ensuring minimal time on depth during collection. Consistent high volume recovery rates of 100% were achieved on all but one of the collection runs, with a total of 1400 liters of sand debris being collected, clearing 280 meters of wellbore, at an average of 140 liters per 24 hours. For case operation 2, over 2000 meters of hard scale was milled, at a rate of penetration (ROP) of 44 meters/hour, on average, re-establishing access for required electric line intervention runs and the subsequent change out of the leaking GLV to restore the integrity of the well, enabling it to be put back on line and resume production. Record breaking achievements regarding the volume of debris removed and depth intervals cleaned via the intervention technology platform were made in both cases.

The body of the article goes on to discuss the creative models of a student’s personality’s development in the process of mastering the course «Theory and methods of musical education of the preschool children». In general, the teacher's profession accumulates a big number of opportunities for the creative improvement of a would-be teacher's personality. All types of activities used while working with children in the process of mastering the artistic competencies (like fine arts, modeling, designing, appliqué work or musical activities) require not only technical skills, but also sufficient creative imagination, lively idea, the ability to combine different tasks and achieve the goals. Achieving this task is possible if students are involved into the process of mastering the active types of musical activities – singing, musical-rhythmic and instrumental activity, development of aesthetic perception of musical works. While watching the group of students trying to master the musical activity, it is easy to notice that they are good at repeating simple vocal and music-rhythmic exercises. This is due to the young man's ability to imitate. Musical and instrumental activities require much more efforts and attention. It is focused on the types and methods of sound production by the children's musical instruments, the organization of melodic line on the rhythm, the coherence of actions in the collective music: ensemble or the highest form of performance – orchestra. Other effective forms of work include: the phrase-based study of rhythmic and melodic party, the ability to hear and keep the pause, to agree the playing with the musical accompaniment of the conductor, to feel your partner, to follow the instructions of the partiture. All the above-mentioned elements require systematic training and well selected music repertoire. Students find interesting the creative exercises in the course of music-performing activities which develop musical abilities, imagination and interpretive skills of aesthetic perception of music, the complex of improvisational creativity in vocal, musical-rhythmic and instrumental activity. The experiments in verbal coloring of a musical work are interesting too. Due to the fact that children perceive music figuratively, it is necessary for the teacher to learn to speak about music in a creative and vivid way. After all, music as well as poetry or painting, is a considerable emotional expression of feelings, moods, ideas and character. To crown it all, important aspects of the would-be teacher’s creative personality’s development include the opportunities for practical and classroom work at the university, where they can develop the musical abilities of students as well as the professional competence of the would-be specialist in music activity. The period of pedagogical practice is the best time for a student, as it is rich in possibilities and opportunities to form his or her creative personality. In this period in the process of the direct interaction with the preschool-aged children students form their consciousness; improve their methodical abilities and creative individuality in the types of artistic activity.