1,490 research outputs found
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Authorship in the Interstices of History, Biography, Reality and Memory: Histoire(s) du cinéma and Cabra Marcado para Morrer
Get PDFEste artigo contrasta Histoire(s) du cinéma de Jean-Luc Godard e Cabra Marcado Para Morrer de Eduardo Coutinho, estão engajadas com a questão da autoria no cinema. Enquanto a imagem de Godard enfatiza a capacidade que tem um filme de transmitir a visão de mundo pessoal de um artista, a presença de Coutinho na tela funciona menos como um meio de subjetivar a obra do que como um catalizador instigando cetas reações nos "atores" filmados
Flesh for the Author: Filmic Presence in the Documentaries of Eduardo Coutinho
Get PDFThis essay examines the questions of authorship and national cinema through the concept of filmic presence. Drawing from Tom Gunning’s valorization of “instants” and “presentation” in the cinema of attractions and from Deleuze’s “cinema of bodies,” the essay studies self-inscription through the director’s photographic image. Key to this analysis is Barthes’s idea of authorial figuration, which privileges physical presence over self-expression.
The object of this investigation is the work of Brazilian documentarian Eduardo Coutinho, who in the past decade has revised the role of sociologist that once defined Latin American filmmakers by shunning interpretation and analysis. Coutinho stresses the encounter between camera and subject, structuring his documentaries as talking heads. In this scenario, the author functions as a catalyst inspiring specific “performances” and narratives. By the same token, Coutinho’s documentaries emphasise the subjects’ body language, syntax and accent. Narrative and self-expression are thus replaced by process and presence
Prussian way and passive revolution in Carlos Nelson Coutinho s thinking: adjusted transposition or decal?
No full textEste trabalho tem por objetivo principal a crítica das posições do filósofo baiano Carlos
Nelson Coutinho sobre o desenvolvimento do capitalismo no Brasil. Para Coutinho, o caminho
do desenvolvimento brasileiro assemelha-se aos casos alemão e italiano. Assim, nosso trabalho
foca a utilização feita pelo autor dos conceitos de via prussiana e revolução passiva .
Durante nossas pesquisas, percebemos que o pensamento de Coutinho passa por
mudanças radicais em seu modo de analisar a realidade. Trata-se do abandono dos referenciais do
filósofo húngaro Georg Lukács em prol dos conceitos do dirigente comunista Antonio Gramsci e
dos ensinamentos políticos de eurocomunistas italianos. Sendo assim, nos dedicamos também ao
entendimento do sentido dessas transformações e do modo como afetam seu diagnóstico do
passado e do presente do país, bem como suas propostas resolutivas.
Nosso trabalho tem por base a análise imanente, ou seja, o acompanhamento crítico do
pensamento de Coutinho é realizado por meio da leitura e interpretação dos textos do próprio
autor, respeitando assim o sentido próprio dos mesmos. A crítica que realizamos apoia-se ainda
nos escritos do historiador Caio Prado Jr. e do filósofo José Chasin, os quais captaram em suas
obras aspectos da realidade brasileira que Coutinho não pôde entender adequadamenteThis work has as main objective the criticism of the Bahian philosopher Carlos Nelson
Coutinho s positions about the development of capitalism in Brazil. For Coutinho, the Brazilian
development way resembles the German and Italian cases. In this way, our work focuses on the
use made by the author of concepts like Prussian way and passive revolution .
During our researches, we realize that Coutinho s thinking suffers radical changes in his
way of analysing the reality. It is the leaving of the Hungarian philosopher Georg Lukács
references, in behalf of the communist leader Antonio Gramsci s concepts and the political
teachings of Italian Eurocommunists. Therefore, we also dedicate ourselves to the understanding
of the meaning of these changes and of the way in which they affect Carlos Nelson Coutinho s
diagnosis of Brazilian past and present, as well as his resolutive proposal.
Our work is based on the immanent analysis, in other words, the critical accompaniment
of Coutinho s thinking is accomplished through the reading and the interpretation of the texts of
the author himself, thus respecting the proper sense of them. Our criticism is also based on the
writings of historian Caio Prado Jr. and philosopher José Chasin, who caught in their works
aspects of Brazilian reality that Coutinho could not properly understandCoordenação de Aperfeiçoamento de Pessoal de Nível Superio
Uso de substratos orgânico-minerais na produção de mudas de mofumbo (Combretum leprosum Mart.)
Get PDFO pouco conhecimento e a má exploração dos recursos naturais da caatinga têm gerado grandes impactos em sua conformação natural e acelerando o processo de desertificação em áreas do bioma. Uma maneira de reduzir e minimizar esse processo são atividades de reflorestamento, utilizando espécies nativas da região, que apresentam grande potencial de adaptação. Porém, ainda há pouco conhecimento sobre o comportamento dessas espécies. Assim, foi realizado um experimento para avaliar o crescimento de mudas de mofumbo, em ambiente protegido na Universidade Federal Rural do Semi-Árido, em delineamento casualizado, com oito tratamentos (controle; fósforo; micronutrientes; fósforo + micronutrientes; matéria orgânica; matéria orgânica + fósforo; matéria orgânica + fósforo + micronutrientes; e matéria orgânica + micronutrientes) e nove repetições, por um período de 98 dias. Houve diferença significativa entre os tratamentos, a 1% de probabilidade, para a maioria das variáveis analisadas, exceto para a relação MSPA/MSR. As mudas de mofumbo apresentaram melhor desenvolvimento quando produzidas em solo enriquecido em 25% com composto orgânico, e não responderam à adubação fosfatada ou adição de micronutrientes para a produção de mudas.Trabalho não financiado por agência de fomento, ou autofinanciad
DESEMPENHO DO ÍNDICE COUTINHO NA AVALIAÇÃO DO PADRÃO DE FIBROSE PERIPORTAL EM PACIENTES COM ESQUISTOSSOMOSE EM HOSPITAL DE REFERÊNCIA EM RECIFE
No full textIntrodução/objetivo: A avaliação do padrão da fibrose periportal (FPP) na esquistossomose mansoni é essencial, uma vez que permite determinar a gravidade da doença e prever complicações, como hemorragia digestiva. Essa análise é realizada pela ultrassonografia, porém apresenta limitações, como operadores treinados e disponibilidade de maquinário. Desta forma, vem-se utilizando biomarcadores para avaliar a FPP, dentre os quais se destaca o Índice Coutinho. O objetivo deste estudo foi analisar o desempenho do Índice Coutinho na avaliação do padrão da FPP, tendo como padrão-ouro a ultrassonografia. Métodos: Em 2019, foram avaliados 57 pacientes com FPP (idade 64 anos, 54,4% feminino) acompanhados em hospital de referência em Recife (HC-UFPE). Todos os pacientes realizaram US (Siemens Acuson S2000) pelo mesmo operador e o padrão da FPP foi definido pela classificação de Niamey. Os exames que compõem o Índice Coutinho [(FA/LSN) / plaquetas] x 100] foram realizados no Laboratório Central do HC-UFPE. As análises estatísticas foram realizadas pelo software SPSS versão 25 para Windows. Resultados: O Índice Coutinho variou entre: 0,19 e 4,51 (Percentis 25 e 75 de 0,40 e 1,27, respectivamente). Foram observados os resultados de mediana do Índice Coutinho e P25-P75, respectivamente: 0,30 (0,21-0,36) para FPP padrão C (Periférica); 0,54 (0,36-0,79) para padrão D (Central) e 1,12 (0,87-1,67) para padrão E/F (Avançada / muito avançada). Quando as 3 medianas do Índice Coutinho foram comparadas entre si com os respectivos padrões de Niamey C x D x E/F, obteve-se p < 0,001; da mesma forma, quando comparados os padrões C x E/F e D x E/F. Além disso, observou-se associação entre os valores do Índice Coutinho e o padrão de FPP, de acordo com a classificação de Niamey, com o coeficiente de correlação de Spearman (r = 0,621; p < 0,001). Conclusão: Nesta série, observou-se que o Índice Coutinho foi capaz de diferenciar os pacientes com padrões mais leves de FPP daqueles com fibrose mais avançada. A utilização de testes não invasivos, de simples execução e baixo custo, auxiliam no diagnóstico dos padrões mais avançados de FPP, constituindo ferramenta importante nas zonas endêmicas
Shared Acoustic Codes Underlie Emotional Communication in Music and Speech - Evidence from Deep Transfer Learning (Datasets)
Get PDF<p>This repository contains the datasets used in the article "Shared Acoustic Codes Underlie Emotional Communication in Music and Speech - Evidence from Deep Transfer Learning" (Coutinho & Schuller, 2017). </p>
<p>In that article four different data sets were used: SEMAINE, RECOLA, ME14 and MP (acronyms and datasets described below). The SEMAINE (speech) and ME14 (music) corpora were used for the unsupervised training of the Denoising Auto-encoders (domain adaptation stage) - only the audio features extracted from the audio files in these corpora were used and are provided in this repository. The RECOLA (speech) and MP (music) corpora were used for the supervised training phase - both the audio features extracted from the audio files and the Arousal and Valence annotations were used. In this repository, we provide the audio features extracted from the audio files for both corpora, and Arousal and Valence annotations for some of the music datasets (those that the author of this repository is the data curator).</p>
<p>Below, you can find description of the various corpora, the details about the data stored in this repository and information on how to obtain the rest of the data used by Coutinho and Schuller (2017).</p>
<p><strong>SEMAINE (speech)</strong></p>
<p>The SEMAINE corpus (McKeown, Valstar, Cowie, Pantic & Schroder, 2012) was developed specifically to address the task of achieving emotion-rich interactions, and it is adequate for this task as it comprises a wide range of emotional speech. It includes video and speech recordings of spontaneous interactions between human and emotionally stereotyped `characters'. Coutinho & Schuller (2017) used a subset of this database (called <em>Solid-SAL</em>). The <em>Solid-SAL</em> dataset is freely available for scientific research purposes (see http://semaine-db.eu). This repository includes the audio features used in Coutinho & Schuller (2017) (under features/SEMAINE).</p>
<p><strong>RECOLA (speech)</strong></p>
<p>The RECOLA database (Ringeval, Sonderegger, Sauer & Lalanne, 2013) consists of multimodal recordings (audio, video, and peripheral physiological activity) of spontaneous dyadic interactions between French adults. Coutinho & Schuller (2017) used the RECOLA-Audio module which consists of the audio recordings of each participant in the dyadic phase of the task. In particular, they used the non-segmented high-quality audio signals (WAV format, 44.1kHz, 16bits), obtained through unidirectional headset microphones, of the first five minutes of each interaction. Annotations consist of time-continuous ratings of the level of Arousal and Valence dimensions of emotion perceived by each rater while seeing and listening the audio-visual recordings of each participant task. The publicly available annotated dataset includes only part of the data which amounts to a total number of 23 instances. The time frame length used by Coutinho & Schuller (2017) is 1s (the original annotations were downsampled). This repository includes the audio features used in Coutinho & Schuller (2017) (under features/RECOLA). To obtain the annotations you should contact the author of the original study (see https://diuf.unifr.ch/diva/recola/download.html for further details).</p>
<p><strong>ME14 (music)</strong></p>
<p>The MediaEval ``Emotion in Music'' task is dedicated to the estimation of Arousal and Valence scores continuously in time and value for song excerpts from the Free Music Archive. Coutinho and Schuller (2017) used the whole corpus (development and test sets for the 2014 challenge) which includes 1,744 songs belonging to 11 musical styles -- Soul, Blues, Electronic, Rock, Classical, Hip-Hop, International, Folk, Jazz, Country, and Pop (maximum of five songs per artist). This repository includes the audio features used in Coutinho & Schuller (2017) (under features/ME14). The full dataset (including annotations) can be obtained from http://www.multimediaeval.org/mediaeval2014/emotion2014/.</p>
<p><strong>MP (music)</strong></p>
<p>This is a corpus compiled specifically for this work described in Coutinho & Schuller (2017) using data collected in four previous studies. It consists of emotionally diverse full music pieces from a variety of musical styles (Classical and contemporary Western Art, Baroque, Bossa Nova, Rock, Pop, Heavy Metal, and Film Music). Annotations were obtained in controlled laboratory experiments whereby the emotional character of each piece was evaluated time-continuously in terms of levels of Arousal and Valence perceived by listeners (ranging between 35 to 52 in the four studies). In what follows, some details about the various studies are described.</p>
<ul>
<li>MP<sub>DB1</sub>: This subset of the MP corpus consists of the data reported by Korhonen (2004), and gently made available by the author. This dataset includes six full (or long excerpts) music pieces ranging from 151s to 315s in length (only classical music). Each piece was annotated by 35 participants (14 females). The time series correspondents to each music piece were collected at 1Hz. The golden standard for each piece was computed by averaging the individual time series across all raters. This repository includes the audio features used in Coutinho & Schuller (2017) (under features/MP/DB1). To obtain the labels please contact the author of the original study.</li>
<li>MP<sub>DB2</sub>: The dataset by Coutinho & Cangelosi (2011) includes 9 full pieces (43s to 240s long) of classical music (romantic repertoire) annotated by 39 subjects (19 females). Values were recorded every time the mouse was moved with a precision of 1 ms. The resultant timeseries were then resampled (moving average) to a synchronous rate of 1 Hz. The golden standard for each piece was computed by averaging the individual time series across all raters. This repository includes the audio features (under features/MP/DB2) and labels (under annotations/MP/DB2) used in Coutinho & Schuller (2017).</li>
<li>MP<sub>DB3</sub>: This dataset was collected by Coutinho & Dibben (2012) and it consists of 8 pieces of film music (84s to 130s long) taken from the late 20th century Hollywood film repertoire. Emotion ratings were given by 52 participants (26 females). The annotation procedure, data processing, and golden standard calculations were identical to MP<sub>DB2</sub>. This repository includes the audio features (under features/MP/DB3) and labels (under annotations/MP/DB3) used in Coutinho & Schuller (2017).</li>
<li>MP<sub>DB4</sub>: This dataset was collected by Grewe, Nagel, Kopiez and Altenmüller (2007), and gently made available by the authors. It includes seven music pieces (127s to 502s in length) of heterogeneous styles (e.g., Rock, Pop, Heavy Metal, Classical). Each music piece was annotated by 38 participants (29 females) using an identical methodology to MP<sub>DB2</sub> and MP<sub>DB3</sub>. Data processing and golden standard calculations were also identical. This repository includes the audio features (under features/MP/DB4) used in Coutinho & Schuller (2017). To obtain the labels contact the authors of the original study</li>
</ul>
<p> </p>
<p><strong>Bibliography</strong></p>
<p>Coutinho, E., & Cangelosi, A. (2011). Musical emotions: predicting second-by-second subjective feelings of emotion from low-level psychoacoustic features and physiological measurements. <em>Emotion</em>, <em>11</em>(4), 921.</p>
<p>Coutinho, E., & Dibben, N. (2013). Psychoacoustic cues to emotion in speech prosody and music. <em>Cognition & Emotion</em>, <em>27</em>(4), 658-684.</p>
<p>Coutinho E, Schuller B (2017) Shared acoustic codes underlie emotional communication in music and speech—Evidence from deep transfer learning. PLoS ONE 12(6): e0179289. https://doi. org/10.1371/journal.pone.0179289.</p>
<p>Grewe, O., Nagel, F., Kopiez, R., Altenmüller, E. (2007). Emotions over time: synchronicity and development of subjective, physiological, and facial affective reactions to music. <em>Emotion, 7</em>(4), pp. 774-788. DOI: 10.1037/1528-3542.7.4.774.</p>
<p>Korhonen, M. (2004). Modeling Continuous Emotional Appraisals of Music Using System Identification. Available from: http://hdl.handle.net/10012/879.</p>
<p>McKeown, G., Valstar, M., Cowie, R., Pantic, M., Schroder, M. (2012). The SEMAINE Database: Annotated Multimodal Records of Emotionally Colored Conversations between a Person and a Limited Agent. <em>IEEE Transactions on Affective Computing</em>, 3, pp. 5-17. DOI: http://doi.ieeecomputersociety.org/10.1109/T-AFFC.2011.20.</p>
<p>Ringeval, F., Sonderegger, A., Sauer, J. & Lalanne, D. (2013). Introducing the RECOLA Multimodal Corpus of Remote Collaborative and Affective Interactions. In <em>Proceedings of the 2nd International Workshop on Emotion Representation, Analysis and Synthesis in Continuous Time and Space (EmoSPACE 2013)</em>, Shanghai, China. IEEE</p>
The Tales of Clarice Lispector and Sonia Coutinho: the Link Between Language and Act of Narrating
No full textO presente trabalho investiga as relações temáticas e estruturais que permitem apontar uma afinidade entre as estéticas e experiências autorais de Clarice Lispector e Sonia Coutinho, ou seja, rastreia-se quais relações entre a linguagem e o ato de narrar de Sonia Coutinho retomam questões caras a Clarice Lispector em sua produção literária. Embasado em estudiosos como Barthes (2012), Pamuk (2011), Sá (1979), Sant’anna (2013), Asadczuk (2017) e Leiro (2003), apliquei tais rastreamentos críticos, teóricos e linguísticos na análise de alguns contos de Clarice Lispector e Sonia Coutinho, viabilizando comparações entre as experiências narradas e as perspectivas apresentadas por cada autora em seu panorama narrativo. No decorrer das análises, uma visão geral pôde ser traçada, na qual as personagens clariceanas iniciam um percurso conflituoso para um aprendizado existencial; situação essa que avança nas narrativas de Coutinho, posto que as personagens aceitam o desafio de transgredirem os papéis sociais e serem/viverem suas próprias identidades, mesmo que atravessadas pela impossibilidade de serem compreendidas.The present work investigates the thematic and structural relations present in the aesthetics and authorial experiences of Clarice Lispector and Sonia Coutinho, that is, it is researched which relations between language and the act of narrating by Sonia Coutinho revisits issues addressed by Clarice Lispector in her literary production. Based on researchers, such as: Barthes (2012), Pamuk (2011), Sá (1979), Sant’anna (2013), Asadczuk (2017) e Leiro (2003), applied such critical, theoretical and linguistic investigations in the anlysis of some short stories by Clarice Lispector and Sonia Coutinho, comparing the narrated experiences and the perspectives expressed by each author during the narrative process. Throughout the analysis, a general panorama could be organized in which the clariceana character begins a conflicting trajectory for an existential learning; situation that advances in Coutinho’s narrative, as the character’s trajectory is to accept the challenge of trangressing social roles, as well as being/living her own identity, even though aware of the inability to be understood
O processo criativo e a construção da realidade na "Trilogia do Povo" de Eduardo Coutinho
Get PDFThis article proposes an analysis of the creative process from Brazilian filmmaker Eduardo Coutinho based on three important feature films by the author - which in this work we will call the "People\u27s Trilogy": Santo Forte (1999), Babilônia 2000 (2000) and Edifício Master (2002). It starts from the assumption that documentary cinema, as a media product, reflects certain constructions that generate impact on contemporary narratives and, consequently, on the formation of social representations. With an analysis based on the theories of Sennett, Deleuze and Riesman, aspects that pervade Eduardo Coutinho\u27s cinema were addressed, such as the question of truth in documentary cinema and the exposure of intimacy. In addition to the unquestionable need for dialogue about author and work, it is essential to think about the present time in which the object of analysis is inserted. In the end, it can be concluded that cinema plays a fundamental role in the construction of images and representations.Este artigo propõe uma análise sobre o processo de criação do cineasta brasileiro Eduardo Coutinho a partir de três importantes longas-metragens do autor - que, neste trabalho, chamaremos de "Trilogia do Povo": Santo Forte (1999), Babilônia 2000 (2000) e Edifício Master (2002). Parte-se do pressuposto de que o cinema documentário, enquanto produto midiático, reflete determinadas construções que geram impacto nas narrativas contemporâneas e, por conseguinte, na formação de representações sociais. Com análise fundamentada nas teorias de Sennett, Deleuze e Riesman foram abordados aspectos que perpassam o cinema de Eduardo Coutinho, como a questão da verdade no cinema documentário e a exposição da intimidade. Para além da necessidade inquestionável de diálogo sobre autor e obra, é essencial pensar no tempo presente em que o objeto de análise está inserido. Ao final, podese concluir que o cinema tem papel fundamental na construção de imagens e de representações
Documenting Presence: the author, the body and the nation in the films of Eduardo Coutinho
Get PDFThis paper explores the question of documentary authorship and representation through the idea of cinematic presence. The work of Brazilian documentarian Eduardo Coutinho serves as case study for both an investigation of authorial self-inscription and a redefinition of the practice of documenting “the nation”. Though belonging to the 1960s cinema novo generation, Coutinho has been at his most prolific in the 1990s and 2000s, when he has famously revised the role of sociologist that used to define the politically engaged Latin American filmmaker by shunning interpretation and analysis. Instead, the director stresses the encounter between camera and subject. As he consistently avoids ‘illustrative’ and ‘representational’ images, Coutinho has structured his documentaries as talking heads, with scenes depicting the film crew setting up the stage for the interview, or arriving at specific locations—much in the style of cinéma-vérité. The director believes that the only reality the camera can capture is the reality of the shoot. What his films document is the encounter between filmmaker and subject—or the product of what Ismail Xavier has called the ‘camera-effect.’ By generating (rather than simply capturing) reality (to use Michael Renov’s expression), the filmmaker becomes a central actor in the documentary—his physical presence shapes the interviewees’ behaviours and speeches. Coutinho’s on-screen presence is thus a structuring element, and his recurring and unmistakable image has become a trademark—indeed, his authorial ‘signature.’ Finally, the director is interested not in the accuracy of the discourses uttered to the camera (and to himself), but in how director and apparatus lead the subjects to ‘perform.’ Rather than the content of speeches, Coutinho privileges the materiality of the voice—the accents, syntax, or, to invoke Barthes, the voice’s ‘texture’ and ‘grain.’ Drawing from Deleuze’s Time-Image, I define Coutinho’s films as constituting a cinema of bodies, where the materiality of the body weary of, or marked by previous experiences is privileged over the narrative of such experiences. Finally, no summary would ever do justice to the essence of Coutinho’s films, for they constitute not cinematic representation, but a cinema of presence
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