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Orientadores: Claudio Eduardo Muller Banzato, Thomas Mauritz Maria Fuchs e Miriam Kyselo Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Ciências Médicas Resumo: A esquizofrenia é um transtorno geralmente abordado a partir de uma perspectiva sintomatológica, com base na psicopatologia descritiva. Porém, outras abordagens teóricas, como a psicopatologia fenomenológica e o enativismo, abordam a esquizofrenia de outra maneira, integrando abordagens de perspectivas em primeira e segunda pessoa que apontam para a importância de se investigar mais afundo de que maneira as alterações entre sujeito com esquizofrenia e mundo se dão. Os objetivos do projeto são explorar as alterações das dimensões psicopatológicas, fenomenológicas (experiências de si e do mundo) e dinâmicas de pacientes com esquizofrenia, e avaliar suas configurações dinâmicas compostas por experiências vividas subjetivas e mundanas alteradas e a presença de negativas ou sintomas positivos e aspectos relacionados à vida e ao contexto social de cada paciente. A investigação foi realizada através de entrevistas com 12 pacientes com diagnóstico de esquizofrenia segundo a CID-10, com base nas entrevistas fenomenológicas semiestruturadas "Exame de Auto Experiências Anômalas" (EASE) e "Exame de Experiências de Mundo Anômalo" (EAWE). Ambos investigam uma variedade de experiências anômalas relacionadas ao self corporificado, percepção (criação de significado), agência, objetos físicos no mundo e outras pessoas. Os resultados encontrados no estudo mostram mudanças singulares de intensidade, frequência e conteúdos diversos, nas configurações de cada um dos pacientes entrevistados, quanto à sua sintomatologia, experiências alteradas e contexto de vida. Essas configurações são compostas por mudanças vivenciadas na experiência vivida e pela presença de sintomas negativos ou positivos singulares e aspectos relacionados ao contexto clínico e de vida de cada paciente. Os resultados encontrados no projeto apontam para mudanças singulares de diferentes intensidades, frequências e conteúdos, tanto nas mudanças mais vivenciais, como nas dimensões do self e na corporeidade, quanto na forma como os sintomas positivos, como fenômenos alucinatórios, aparecem, em cada um dos casos. No primeiro grupo de pacientes, as configurações aparecem de forma mais estática e cristalizada. Nesse grupo, as mudanças experienciais e sintomatológicas aparecem com mais intensidade, levando a configurações menos fluidas, dificultando a interação dos sujeitos com seu respectivo mundo da vida. O segundo grupo apresenta configurações mais dinâmicas, em que os pacientes entrevistados apresentam alterações experienciais e sintomatológicas mais brandas, que ainda os permitem interagir de forma mais fluida, embora frágil, com o mundo. Portanto, a inter-relação entre as mudanças nas dimensões experiencial e sintomática aponta para a necessidade de uma compreensão mais integrada dos transtornos dentro do espectro da esquizofrenia, uma vez que as intervenções psicoterapêuticas, farmacológicas e sociais poderiam então ser baseadas no entendimento que enfoca as mudanças mencionadas como dinâmicas e sujeito a mudanças constantes, dependendo do contexto de cada caso Abstract: Schizophrenia is a disorder usually addressed from a symptomatological perspective, based on descriptive psychopathology. Other theoretical frameworks, such as phenomenological psychopathology and enactivism, approach schizophrenia integrating first and second-person perspective approaches toward schizophrenia, which are fundamental for a more in-depth investigation of how the subject with schizophrenia exists, in relation to his world. The objectives of the project are to explore the alterations of the psychopathological, phenomenological (experiences of self and world) and enactive dimensions of patients with schizophrenia, and to assess their dynamic configurations composed of lived altered subjective and worldly experiences and the presence of negative or positive symptoms and aspects related to each patient’s life and social context. The investigation was carried through employing interviews with 12 patients diagnosed with schizophrenia according to ICD-10, based on the phenomenological semi-structured interviews "Examination of Anomalous Self Experiences" (EASE) and "Examination of Anomalous World Experiences" (EAWE). Both investigate a variety of anomalous experiences related to the embodied self, perception (creation of meaning), agency, physical objects in the world, and other people. The results found in the study show singular changes in intensity, frequency and diverse content, in the configurations of each of the interviewed patients, regarding their symptomatology, altered experiences and life context. These configurations are composed of experienced changes in lived experience and the presence of singular negative or positive symptoms and aspects related to each patient's clinical and life context. The results found in the project point to unique changes of different intensity, frequency and content, both in the more experiential changes, such as in the dimensions of the self and in corporeality, as well as in the way in which positive symptoms, such as hallucinatory phenomena, appear, in each one of the cases. In the first group of patients, the configurations appear in a more static and crystalized manner. In this group, the experiential and symptomatological changes occur more intensely, leading to less fluid configurations, thus making it difficult for the subjects to interact with their respective lifeworld. The second group presents more dynamic configurations, in which the patients interviewed presented milder experiential and symptomatological alterations, which still enable them to interact in a more fluid, albeit fragile, way with the world. Therefore, the interrelation between changes in experiential and symptomatic dimensions points to the need for a more integrated understanding of disorders within the schizophrenia spectrum, since psychotherapeutic, pharmacological and social interventions could then be based on the understanding that focuses on the aforementioned changes as dynamic and subject to constant change, depending on the context of each case Doutorado Saúde Mental Doutor em Ciências CAPES 02-P-5142/2021

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Ritual mistis masih sangat kental di dalam kehidupan masyarakat. Meskipun zaman telahmodern, namun ritual di alam gaib tetap dilakukan. Kehidupan masyarakat tidak dapat dilepaskandari ritual mistis, yang kemudian diwujudkan dalam laku spiritualnya. Dalam penelitian ini disajikanritual mistis yang dilakukan oleh para peziarah yang Ngalab Berkah di Gunung Kemukus. RitualNgalab Berkah akan dijadikan sebagai obyek kajian dalam kaitannya dengan kontestasi di duniapolitik. Dengan menggunakan pendekatan kualitatif dan analisis deskriptif, ditemukan bahwa frameagama Jawa dan teori Max Weber berkenaan dengan kepemimpinan kharismatik menyebabkan ritualmistis tetap laris di kalangan kontestan politik. Hasil dari ritual mistis yang berupa Ngalab Berkah diGunung Kemukus, menjadikan pelaku ritual mendapatkan harmonisasi antara makrokosmos danmikrokosmos, kharisma sebagai pemimpin, mendapat pulung (kebegjan), serta mendapatkan hikmatdan belas kasihan dari Pangeran Samudra. Ritual mistis yang dijalankan oleh para peziarah terbuktisebagai jalan yang cukup ampuh untuk ditempuh para kontestan politik dalam memenangkankontestasinya di dunia politik.

With the rapid rise of 3D-printing as a competitive mass manufacturing method, manual "decaking" - i.e. removing the residual powder that sticks to a 3D-printed part - has become a significant bottleneck. Here, we introduce, for the first time to our knowledge, a robotic system for automated decaking of 3D-printed parts. Combining Deep Learning for 3D perception, smart mechanical design, motion planning, and force control for industrial robots, we developed a system that can automatically decake parts in a fast and efficient way. Through a series of decaking experiments performed on parts printed by a Multi Jet Fusion printer, we demonstrated the feasibility of robotic decaking for 3D-printing-based mass manufacturing., Comment: 7 pages, ICRA 2020

Review Perekonomian Indonesia

Denne masteroppgaven er en casestudie som følger IKEA gjennom et pilotprosjekt om implementering av chatbot i kundeservice våren 2020. Studien deles inn i tre stadier, hvor første stadiet handler om identifisering av behovet for en chatbot i IKEA. Det andre stadiet handler om konstruksjon av chatboten og redegjør for hvilke muligheter og begrensninger som eksisterer i IKEA for implementering. Etter-stadiet fokuserer på de initiale effektene av chatboten etter implementering, samt hvilke faktorer som bidrar til at kunder av IKEA benytter chatboten. Hele implementeringsprosessen redegjøres på bakgrunn av både kvalitativt og kvantitativt datagrunnlag, som består av intervjuer med IKEA og de involverte partene Boost Ai og NetNordic. For å få bredere innsikt omkring chatbot og andre bransjer, ble også Kantar intervjuet. En forskningsmodell ble også utarbeidet på grunnlag av en spørreundersøkelse rettet mot kunder av IKEA. Resultatet fra første stadiet viser at endrede kundeforventninger, økt kontaktvolum og kompetanseheving viser behovet av en chatbot i IKEAs kundeservice. Resultatene i det andre stadiet viser at en chatbot har mulighet til å besvare henvendelser som relateres til FAQ og ordresporing. IKEA har også mulighet til å sette sammen en prosjektgruppe bestående av ulik kompetanse og erfaringer fra ulike områder. IKEA har begrensninger knyttet til dårlig koordinasjon med den globaliserte IT-avdelingen, eldre IT-systemer og mangler på APIer. Siste stadiet viser at chatboten har en begrenset effekt i reduksjon av kontaktvolumet fordi mange av kundehenvendelsene faller utenfor dens område. Det eksisterer likevel positive effekter ved at chatboten skaper verdi for de kundehenvendelsene som predikeres riktig, samt at den predikerer store mengder med kundehenvendelser samtidig. I tillegg opererer den døgnkontinuerlig. Skalerbarheten i chatboten gjør at den tilpasser seg endrede omgivelser relativt fort. Resultatene fra forskningsmodellen viser at løsningsgraden til chatboten må være høy, operere brukervennlig og fascinere for at kunder av IKEA vil bruke chatboten. Vår masteroppgave viser at detaljhandel er preget av komplekse vare- og tjenesteporteføljer, som skaper utfordringer for en begrenset kognitiv chatbot i kundeservice. Dette tyder på at kunstig intelligens har en vei å gå før den ønskede merverdien blir oppfylt. This master’s thesis is a case study that seeks to analyze the implementation process of a chatbot in IKEA’s customer service. The thesis follows IKEA through a pilot project during the spring of 2020. The first stage involves the identification of the need of a chatbot in IKEA’s customer service. The second stage involves the construction of the chatbot and clarifies the possibilities and limitations that exist in IKEA in relation to the implementation. The after stage focuses on the initial effects after the implementation and what factors contribute to customers of IKEA using the chatbot. The implementation process is explained on the basis of both qualitative and quantitative data, which consist of interviews with IKEA, Boost Ai and NetNordic. In order to gain a broader understanding of chatbot and other industries, we also interviewed Kantar. A research model was also developed based on a survey aimed at customers of IKEA. Our results in the first stage show that changes in customers’ expectations, an increase in contact volume and competence development indicates to a need for a chatbot in IKEA’s customer service. The second stage shows that the chatbot has the possibility to answer inquiries related to FAQ and order tracking. IKEA also has the possibility to assemble a project team, consisting of mixed competence and experience. IKEA has limitations related to poor coordination with it’s global IT-department, older IT-systems and lack of relevant APIs. The results of the after stage show that the chatbot creates a limited effect in reducing the contact volume because many of the customer inquiries fall outside of the chatbot’s limited domain. However, there are some positive effects related to correctly predicted inquiries, and the possibility to frequently predict customer inquiries at the same time. In addition, the chatbot operates 24 hours a day. The scalability of the chatbot allows it to quickly adapt to changing surroundings. The results of the research model show that performance expectancy, effort expectancy and hedonic motivation are important factors that explain the customers’ behavioral intention to use the IKEA chatbot. Our master’s thesis shows that the retail industry is characterized by complex product and service portfolios, which create challenges for a limited cognitive chatbot in customer service. This implies that artificial intelligence still has a long way to go before a chatbot is viable in the retail industry. M-ØA

Valkyrie has been widely billed as the first of Tom Cruise’s steps back into the A-list stratosphere. After all the couch-jumping, manager-firing, studio-hopping, Scientology-spouting weirdness, Tom has apparently decided to get his career back on track (despite the fact that it is arguably in quite good shape, with the star sporting a recent Golden Globe nomination for his quite hilarious turn in Ben Stiller’s Tropic Thunder). Valkyrie is indeed a very serious and sombre film, and despite the fact that it’s backed by a healthy budget, it is a film that is all about performances, so with all of that in mind, it does seem like a decent choice for an actor bent on returning to centre stage.

There are a number of semi-intriguing things about this film, and possibly a greater number of not-so-intriguing elements that manage to tip the scales to take it from being potentially interesting to really rather nondescript and forgettable. The first faintly intriguing thing about Four Holidays is its title, which has been changed for we Australians. The film’s US title is Four Christmases, and Santa only knows why the title was changed for its Antipodean audience. Perhaps we’re regarded as a more secular nation than the US of A? Who knows. What we want to know here is whether or not it’s a decent film, and the answer, in my opinion, is “Well, sort of.”

As is the Hollywood pattern nowadays (and as I often note as we head into our Southern-hemisphere Winter) this is the time of the year in which the American Summer Blockbusters hit our screens. First off the rank this season is Iron Man, a Marvel comic-books adaptation, starring (of all people) Robert Downey Jr. in the title role. Well, he sort-of plays the title role, in the sense that his character’s real name is Tony Stark, and the “Iron Man” of the title is actually Stark plus an enormous mechanised weapon-suit he wears, which both protects his real identity from the public gaze and allows him to fly, jump, smash his way through tall buildings at a single swipe and generally act like a high-tech superhero. If this sounds like your cup of tea, you’ll have a great time with this highly polished, explosive and wildly entertaining film.

Films set during World War II often come laden with extraordinarily heavy emotional baggage, and while The Counterfeiters isn’t exactly an exception to this rule, it at least provides as uplifting and humanist a message as is possible, given its setting and subject matter. In the hands of a man who, on the surface of things, seems the most unlikely director, The Counterfeiters tells the true story of a group of German Jews who, while imprisoned in a concentration camp during the second world war, were given certain privileges and leniencies in return for engaging in a large-scale forgery effort on behalf of the German Army.

Like many people my age (that is, Gen X rather than Gen Y…) I grew up wanting to be Indiana Jones. I was a very young kid when Raiders of the Lost Ark was released in 1981, and like many of my schoolmates, I went home after leaving the cinema and said to my Dad “I’m going to be an Archaeologist.” Like many of my friends’ Dads, mine replied “I don’t think so.” After further discussion, it was made clear to me that most Archaeologists don’t carry six-shooters and bullwhips, ride horses in pursuit of Nazi trucks, engage in supernatural rituals or save the world. This, to me, was an astonishing disappointment, but it also pointed out one of the principal beauties of the cinema: the fact that sitting there, safe and in the dark, we can engage in terrifically entertaining fantasy and glorious escapism. This is what many of the films of Steven Spielberg have been all about letting us do.

Daniel Auteuil, the ubiquitous French actor who is as talented as he is prolific, has spent at least twenty years now as an A-list performer in his native country. Making quite an impression as the love-struck country bumpkin in the much-loved Jean de Florette (1986), and making many films over the years with his wife Emmanuelle Beart, Auteuil has lately been seen in everything from touching stories of disability (The Eighth Day) to unnerving psychological thrillers (Hidden) and gorgeous romantic comedies (Apres Vous). Here, working with three other skilled performers, Auteuil is in fluffy comic territory, but, sadly, both script and director Laurent Bouhnik have let him down.

Lars and the Real Girl may turn out to be both the most bizarre and the most touching independent film of the year. Think of a romantic fable whose central couple is comprised of, on one hand, a man in his late twenties, and on the other hand an anatomically correct, life-sized plastic doll, and you’ll probably have numerous thoughts about either raucous, politically-incorrect comedies or plainly bizarre out-ofleft- field weirdness. Lars and the Real Girl is neither; it is, I kid you not, one of the most strangely moving love stories in recent memory, and it is made to work in the way it does by beautifully structured writing, perceptive and subtle direction, and a trio of wonderful performances, particularly that of leading man Ryan Gosling.

Fifty years ago, Elmore Leonard (these days most revered as a crime writer, whose novels include Get Shorty, Out of Sight and Killshot, which has also just been filmed) wrote a short story called 3:10 to Yuma. It centred around the struggle to escort a nasty stagecoach-robber and gunslinger, Ben Wade (here played by Russell Crowe) to a train that would transport him to Yuma prison. Delmer Daves directed a film version in 1957 which starred Van Heflin and Glenn Ford, and which was well-received as a decent Western made during the classical Hollywood cycle. These days of course, really good, traditional Westerns are few and far between, but James Mangold’s updating and remake of Leonard’s story proves to be a terrific return to this tried and true genre. Mainly for lads it may well be, but it’s a hell of a pic if you fit the demographic.

Children of Men will, I suspect, be remembered alongside other dark cautionary tales like Brave New World and Nineteen Eighty-Four. The film is based upon a novel by well-regarded crime writer P.D. James, who has occasionally written what is broadly termed “Literary fiction”. The novel upon which Children of Men is based was first published in 1992, and shares much with the dystopian science fiction of Huxley and Orwell. Set in a devastated Britain of 2027, the novel depicts a society that has become infertile: women are unable to conceive children and the population is nearing its “end of days”. With a background of devastating environmental decay and widespread anarchy, this is a bleak story indeed, and it has been turned into a bleak and brilliant film by director Alfonso Cuaron.

It’s certainly the season for third-in-the-series sequels, with Pirates of the Caribbean 3, Shrek the Third, and now Ocean’s Thirteen hitting our screens in – fittingly – the last three weeks. The latest in the spate of releases, Steven Soderbergh’s third entry in the “Ocean’s” series, while by no means as awful as Pirates 3, is roughly the same kind of going-through-the-motions exercise as Shrek the Third. It’s reasonably charming and quite proficient, but at the end of the day all it really does is remind us just how good the first entry in the series was.

Director and co-writer Julie Taymor gets points here for concocting one of the strangest and most fascinating musicals of recent years. Across the Universe is a story of the 1960s and of the now, performed as a dramatic musical set entirely to the great songs of The Beatles. With a strong and affecting narrative tied together by often breathtaking modern performances of the great Lennon/McCartney pieces, Across the Universe is a strange and at times staggering trip.

It’s been thirteen years since the public obsession with the works of Jane Austen was revived by the wonderful BBC adaptation of Pride and Prejudice. Ms Austen’s work has been well and truly put through the wringer since then, with some lovely adaptations and transformations coming along (like the delightful versions of Emma starring Gwynneth Paltrow and Kate Beckinsale) and some dreadful misfires too (witness 2005’s Pride and Prejudice starring the woefully miscast Keira Knightley). Now we’re seeing adaptations of books about people reading Jane Austen, and happily The Jane Austen Book Club fits in under the category of light, life-affirming and buoyant romantic drama.

Thermodynamic simulation of the carbothermic chemical reactions likely to occur in the open bath of a d.c. transferred plasma-arc furnace using a standard slag comprising CaO, MgO, A1203, and SiO, as a basis, and with FeO, Crz03, MnO, and ZnO added at various carbon levels, has shown that the high temperatures expected in the arc attachment zone (AAZ) can cause unacceptable products to be produced at the expense of the desired ones and result in higher consumption of energy. The thermal inertia of the AAZ can be used in efforts to assess the level of control needed over the feed rate, distribution of the feed, and power input of a particular process in order to limit high temperature excursions, which cause so-called 'side reactions', e.g. the reduction of MgO to Mg vapour.

It’s very clear that the Christmas holidays are on their way: we’ve got the first of the season’s family films, here in the shape of the “computer-animated comedy voiced by Hollywood royalty” - Bee Movie. The film has been co-written, produced and graced with a central vocal performance by Jerry Seinfeld, the man who made a genuine fortune as star of his own legendary sitcom and who has been far from the limelight for quite some time.

Beowulf, the latest computer-animated blockbuster-wannabe to emerge from Hollywood’s studios, is in some ways a follow-up to director Robert Zemeckis’ 2004 CGI extravaganza, The Polar Express. Zemeckis, who has long held a kind of secondtier monopoly on Hollywood fare beneath Steven Spielberg, has always embraced cutting-edge technology in order to make the special effects in his films as eyepopping as possible. Those of us who are old enough to remember when the original Back to the Future was released (in 1985) will attest to the fact that, in its day, that film was about as remarkable for its visual effects as it was for its wildly entertaining story. Zemeckis has had many successes subsequently, from Who Framed Roger Rabbit? to Forrest Gump and Castaway, and all of them have had their share of behind-the-scenes techno-gimmickry to keep them buzzing. With Beowulf, Zemeckis has continued the SFX tradition, and has looked to an extraordinarily old narrative in order to pilfer a storyline: a poem that’s roughly 1,000 years old. The results, sadly, are nowhere near as successful as Michael J. Fox in a Delorean time-machine.

1408 is a puzzling film, in many ways. It’s puzzling primarily because John Cusack is in it, and it’s not a very good film. This is an oddity, in my opinion; the ever-likeable Cusack very rarely steps out of line, usually pairing engaging turns as co-writer with canny role choices onscreen. Sadly, this, Cusack’s latest outing as a leading man, is a very dull experience; he neither wrote nor produced nor executive-anythinged it; indeed it seems suspiciously like he might have been offered too good a deal as an actor to refuse, and that he took the money and ran. Don’t get me wrong, he’s fun to watch, and he plays the not-quite-average-Joe with great skill, but it’s all in service of a film that you’re likely to forget the moment the final credits’ reflection fades from your eyeballs.

Lions for Lambs is not just an assured return to the directing fold for megastar Robert Redford, it’s another of the recent cycle of deeply “political” films emanating from Hollywood. Written by Matthew Michael Carnahan and brought to the screen by the combined clout of Redford, Meryl Streep and a very impressive Tom Cruise, Lions for Lambs is timely and extremely thought-provoking.

2007 has certainly been the year of Hollywood “threequels”. Spider-Man 3, Ocean’s Thirteen, Shrek the Third and Pirates of the Caribbean 3 have all seen release this year, and now we await the third instalment of the hugely successful Bourne series, which will hit our screens at the end of this month. The Bourne Ultimatum (which follows The Bourne Identity and The Bourne Supremacy) is currently smashing its way through almost everything else at the US box-office, and will no doubt make a significant impact when it opens here.

When it opened in 1988, the original Die Hard wowed audiences, ushered in a new generation of blockbuster Hollywood action-thrillers, and made a megastar of Bruce Willis, who was, at the time, the still-hirsute star of TV’s Moonlighting. The director of the original film, John McTiernan, was a young filmmaker whose skills with an action sequence were considerable; he would return to the franchise a few years later to make the third instalment, Die Hard With A Vengeance, a disappointing though still very bankable entry.