6 resultados para Computer screens


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Os primeiros trabalhos sobre Computer-Supported Cooperative Work surgiram na segunda metade da década de 80, estabelecendo-se um campo de investigação interdisciplinar com enfoque no papel do computador e das tecnologias da comunicação no apoio do trabalho em grupo (Ishii et al., 1994). Ao abordar esta área de investigação torna-se claro que é necessário ter em conta a diversidade dos grupos e das tarefas que estes devem de utilizar, entre outros factores importantes. As implicações desta diversidade são discutidas ao nível concepção de interfaces de groupware, em que um maior envolvimento dos utilizadores nas fases iniciais parece ser necessário, e ao nível dos Sistemas de Apoio à Decisão em Grupo.

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Based on the report for the “Project III” unit of the PhD programme on Technology Assessment under the supervision of Prof. António B. Moniz. This report was discussed also at the 2nd Winter School on Technology Assessment held at Universidade Nova de Lisboa, Caparica Campus, Portugal on December 2011.

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Dissertation submitted in partial fulfillment of the requirements for the Degree of Master of Science in Geospatial Technologies.

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Based on the report for “Project IV” unit of the PhD programme on Technology Assessment (Doctoral Conference) at Universidade Nova de Lisboa (December 2011). This thesis research has the supervision of António Moniz (FCT-UNL and ITAS-KIT) and Armin Grunwald (Karlsruhe Institute of Technology-ITAS, Germany). Other members of the thesis committee are Mário Forjaz Secca (FCT-UNL) and Femke Nijboer (University of Twente, Netherlands).

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Dissertação para obtenção do Grau de Mestre em Biotecnologia

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This paper identifies and critiques the value of stillness as a necessary condition for the display and appreciation of art objects like the 16th century Japanese Namban screens, whose history and function is characterised by forms of movement. Drawing on multi-sited fieldwork in museum galleries that display these screens in Japan, Portugal and North America I will detail how the art-historical interpretation of the physical passage of these objects and their value as cultural heritage is based upon the fixed point perspectivism of networks and a visualist paradigm. Museum focused processes of conservation and display can be understood as extending this paradigm. By means of environmental controls, directed towards the location of perceptible meaning in what is available to vision and the necessary attenuation of the other senses the material movements of the object and movements of constituent materials in the object are stilled. The argument is for a sensory approach to museums and the objects within them, which in this case takes account of the material movements of the screens by engaging the senses through the ‘touch of sound’ as well as vision.