928 resultados para Time code (Audio-visual technology)


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Hacer un recorrido por la historia de la enseñanza de los idiomas en España, atendiendo a los objetivos, contenidos, metodología y evaluación. El estudio se divide en cinco capítulos. El primer capítulo se centra en la historia de la enseñanza de los idiomas, atendiendo al método tradicional, al método directo, método audio-oral, audio-visual, método funcional aportando características del enfoque glotodidáctico integrado. En el capítulo segundo se muestran los objetivos propuestos por el Documento de Consulta publicado con autorización del Ministerio de Educación y Ciencia, presentando los objetivos de la enseñanza de idiomas atendiendo a las dos lenguas que se imparten en E.G.B, francés e inglés, comprensión y expresión oral, comprensión y expresión escrita, léxico y vocabulario, gramática o elementos de morfosintaxis y fonética. En este capítulo se explica cada uno de ellos junto con aspectos socioculturales de interés. En el capítulo tercero se muestra la metodología específica de la enseñanza de los idiomas. En el capítulo cuarto se desarrolla la evaluación, su naturaleza, la frecuencia, los tipos de test utilizados para la evaluación y las conclusiones, qué es lo que se va a evaluar, qué metodología ha seguido el evaluador y qué se quiere alcanzar. En el capítulo quinto se muestran los factores que influyen en su aprendizaje, como son la motivación, el contacto con la cultura extranjera, edad, medios y materia, aptitud, entorno social, sexo, y otros factores que van referidos a la organización de la escuela, como el profesorado y la deficiente preparación para la enseñanza de lenguas extranjeras por parte de los profesores de E.G.B. La difícil integración de los profesores de inglés o francés en el equipo pedagógico de la escuela.. 1) La didáctica del idioma es un tema abandonado, al menos en España, hay una necesidad de estudiar y ampliar este campo, 2) los objetivos correspondientes a las áreas de gramática y fonética son casi imposibles de conseguir a lo largo de los tres años en que la enseñanza del idioma moderno es obligatorio en la E.G.B, 3) la metodología dentro de la diversidad de métodos existentes, observar si existiera una base común, que sirviera como norma de enseñanza, 4) la evidencia de que la evaluación no está desarrollada lo suficiente para medir todo aquello que se pretende conseguir, 5) faltan técnicas de evaluación que permitan saber si un alumno está en verdadera disposición de comunicarse en otro idioma distinto del suyo materno, 6) referente a los factores que inciden en el aprendizaje de un idioma extranjero las conclusiones a las que se pueden llegar quedan suficientemente claras, 7) la motivación es necesaria para una favorable disposición del alumno al aprendizaje, además del contacto con la cultura del país, la vida en comunidad, y un nivel de maduración adecuado.

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Resumen basado en el de la publicaci??n

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Partimos del hecho que una forma de percibir la realidad que nos rodea, es por medio de las imágenes que capta nuestro cerebro, éste es un proceso totalmente individual y subjetivo, que su resultado solo puede ser manifiesto por medio de la expresión oral, gráfica o mímica, que para describir cabalmente lo que captamos o lo que queremos expresar, lo tenemos que nombrar y lo nombramos precisamente con la palabra. Por otra parte no podemos nombrar, de manera concreta, algo de lo cual no tenemos noción, idea, imagen o concepto. De ahí la importancia de la imagen en el proceso de construcción del conocimiento

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Estudi sobre el tractament de la propietat intel•lectual i els drets d’autor en el sector turístic hotelera, amb l’objectiu d’esbrinar com funciona aquesta gestió. S’incideix més en l´’us de les televisions en les habitacions d’hotel, i en quins criteris utilitzen les entitats de gestió per exigir aquest dret. Es proposen alternatives als establiments hotelers a partir dels criteris dels tribunals

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The results presented in this paper are from a research using a questionnaire about activities and evaluations of boys and girls in relation to different audio-visual media (television, computer, videoconsole, educative CD-Roms, Internet and computer and console games). Results show us that children information about any audio-visual media is systematically overestimated by parents. Generally, the media with more negative concordances is video-games, the one with more positive concordances is the computer and the one with more discrepancies between generations is TV

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En el presente artículo se exponen los resultados de una investigación realizada con una muestra de adolescentes (N = 1211) entre 12 y 16 años y otra de sus progenitores (N = 462) para explorar cómo las diferentes respuestas generacionales ante la presencia de diversos medios audiovisuales en su entorno próximo afectan las interacciones familiares entre progenitores e hijos/as. Los resultados apuntan al hecho que los progenitores tienden a sobredimensionar tanto el interés como las informaciones de que dispone su propio hijo o hija acerca de la mayor parte de los medios audiovisuales explorados, así como la satisfacción que proporcionan las conversaciones con los adultos acerca de cualquier actividad con estos medios. Los progenitores realizan atribuciones diferentes sobre el uso de medios audiovisuales según se refieran a un hijo o a una hija. Se aprecia una importante diferencia entre la satisfacción con las conversaciones que los y las adolescentes mantienen con sus iguales y la que proporcionan las conversaciones con los adultos respecto a cualquiera de sus actividades con los medios

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Este articulo trata de exponer la utilización del archivo audiovisual del grupo de investigación IDECA como herramienta docente y como la utilización de un archivo digital de estas características se articula como una vía practica para mejorar la adquisición de competencias en determinadas áreas del conocimiento por parte del alumnado universitario. El empleo del archivo IDECA como herramienta docente, se articula como un medio excelente para la mejora de los conocimientos del alumno por medio de la gestión autónoma del aprendizaje por parte del alumno o del aprendizaje tutorizado por el profesorado

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Ressenya de l' Audiovisual del 'Seminario Internacional Cultura y Desarrollo', dirigit per Alfons Martinell i Gemma Carbó i realitzat per Lluís Masachs

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This paper describes an audio/visual project resulting in a public relations slide slow about Central Institute for the Deaf and its facilities and activities.

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Both airborne spores of Rhynchosporium secalis and seed infection have been implied as major sources of primary inoculum for barley leaf blotch (scald) epidemics in fields without previous history of barley cropping. However, little is known about their relative importance in the onset of disease. Results from both quantitative real-time PCR and visual assessments indicated that seed infection was the main source of inoculum in the field trial conducted in this study. Glasshouse studies established that the pathogen can be transmitted from infected seeds into roots, shoots and leaves without causing symptoms. Plants in the field trial remained symptomless for approximately four months before symptoms were observed in the crop. Covering the crop during part of the growing season was shown to prevent pathogen growth, despite the use of infected seed, indicating that changes in the physiological condition of the plant and/or environmental conditions may trigger disease development. However, once the disease appeared in the field it quickly became uniform throughout the cropping area. Only small amounts of R. secalis DNA were measured in 24 h spore-trap tape samples using PCR. Inoculum levels equivalent to spore concentrations between 30 and 60 spores per m3 of air were only detected on three occasions during the growing season. The temporal pattern and level of detection of R. secalis DNA in spore tape samples indicated that airborne inoculum was limited and most likely represented rain-splashed conidia rather than putative ascospores.

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Starting point for these outputs is a large scale research project in collaboration with the Zurich University for the Arts and the Kunstmuseum Thun, looking at a redefinition of Social Sculpture (Joseph Beuys/ Bazon Brock, 1970) as a functional device re-deployed to expand the art discourse into a societal discourse. Although Beuys‘ version of a social sculpture involved notions of abstruse mysticism and reformulations of a national identity these were never-the less part of a social transformation that shifted and re-arranged power relations. Following Laclau and Mouffe in their contention that democray is a fundamentally antagonistic process and contesting Grant Kester’s understanding of a ethically based relational practice, this work is alignes itself with Hirschhorn’s claim to an aesthetic practice within communities, following the possibility to view a socially based practice from both ends of the ethics debate, whereby ethical aspects fuels the aethetic to “create situations that are beautiful because they are ethical and shocking because they are ethical, thus in turn aesthetic because they are ethical” (O’Donnell). This project sets out to engage in activities which interact with surrounding communities and evoce new imaginations of site, thereby understanding site as a catalysts for subjective emergences. Performance is tested as a site for social practice. Archival research into local audio/visual resources, such as the Swiss Radio Archive, the Swiss Military Film Archives and zoological film archives of the Basel Zoo, was instrumental to the navigation of this work, under theme of crisis, catastrophy, landscape, fallout, in order to create a visual language for an active performance site. Commissioned by the Kunstmuseum Thun in collaboration with the University for the Arts in Zurich as part of a year long exhibition programme, (other artists are Jeanne Van Heeswijk (NL) and San Keller (CH), ) this project brings together a series of different works in a new performace installation. The performance process includes a performance workshop with 30 school children from local Swiss schools and their teachers, which was conducted publicly in the museum spaces. It enabled the children to engage with an unexpected set of tribal and animalistic behaviours, looking at situations of flight and rescue, resulting in a large performance choreography orchestration without an apparent conductor, it includes a collaboration with renowned Swiss zoologist, Prof Klaus Zuberbühler(University of St Andrews) and the Colonal General Haldimann commander of the military base in Thun. The installation included 2 static video images, shot in an around spectacular local cave site (Beatus Caves) including 3 children. The project will culminate in an edited edition of the Oncurating Journal, (issue no, tbc, in 2012) including interviews and essays from project collaborators. (Army Commander General, Thun, Jörg Hess, performance script, Timothy Long, and others)

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Duras’s theatre work has been profoundly neglected by UK theatre academics and practitioners, and Eden Cinema has almost no performance history in Britain. My project asked three interconnected research questions: how developing the performance contributes to understanding Duras’s theatre and specifically Eden Cinema’s problems of performability; how multimedia performance emphasising mediated sound and the live body reconfigures memory, autobiography, storytelling, gender and racial identity; how to locate a performance style appropriate for Durasian narratives of displacement and death which reflect the discontinuous and mutable form of Duras’s ‘texte/film/théâtre’. Drawing on my research interests in gender, post-colonial hybridity and performed deconstruction, I focused my staging decisions on the discontinuities and ambivalences of the text. I addressed performability by avoiding the temptation to resolve the strange ellipses in the text and instead evoked the text’s imperfect and fragmented memories, and its uncertain spatial and temporal locations, by means of a fluid theatrical form. The mise-en-scène represented imagined and remembered spaces simultaneously, and co-existing historical moments. The performance style counterpointed live and mediated action and audio-visual forms. A complex through-composed soundscape, comprising voice-over, sound and music, became a key means for evoking overlapping temporalities, interconnected narratives and fragmented memories that were dispersed across the performance. The disempowerment of the mother figure and the silent indigenous servant in the text was demonstrated through their spatial centrality but physical stillness. The servant’s colonial subaltern identity was paralleled and linked with the mother’s disenfranchisement through their proxemic relationships. I elicited a performance style which evoked ‘characters’, whose being was deferred across different regimes of reality and who ‘haunted’ the stage rather than inhabited it. I developed the project further in the additional written outcomes and presentations, and the subsequent performance of Savannah Bay where problems of performability intensify until embodiment is almost erased except via voice.

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Backtracks aimed to investigate critical relationships between audio-visual technologies and live performance, emphasising technologies producing sound, contrasted with non-amplified bodily sound. Drawing on methodologies for studying avant garde theatre, live performance and the performing body, it was informed by work in critical and cultural theory by, for example, Steven Connor and Jonathan Rée, on the body's experience and interpretation of sound. The performance explored how shifting national boundaries, mobile workforces, complex family relationships, cultural pluralities and possibilities for bodily transformation have compelled a re-evaluation of what it means to feel 'at home' in modernity. Using montages of live and mediated images, disrupted narratives and sound, it evoked destablised identities which characterise contemporary lived experience, and enacted the displacement of certainties provided by family and nation, community and locality, body and selfhood. Homer's Odyssey framed the performance: elements could be traced in the mise-en-scène; in the physical presence of Athene, the narrator and Penelope weaving mementoes from the past into her loom; and in voice-overs from Homer's work. The performance drew on personal experiences and improvisations, structured around notions of journey. It presented incomplete narratives, memories, repressed anxieties and dreams through different combinations of sounds, music, mediated images, movement, voice and bodily sound. The theme of travel was intensified by performers carrying suitcases and umbrellas, by soundtracks incorporating travel effects, and by the distorted video images of forms of transport playing across 'screens' which proliferated across the space (sails, umbrellas, the loom, actors' bodies). The performance experimented with giving sound and silence performative dimensions, including presenting sound in visual and imagistic ways, for example by using signs from deaf sign language. Through-composed soundtracks of live and recorded song, music, voice-over, and noise exploited the viscerality of sound and disrupted cognitive interpretation by phenomenological, somatic experience, thereby displacing the impulse for closure/destination/home.

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In visual tracking experiments, distributions of the relative phase be-tween target and tracer showed positive relative phase indicating that the tracer precedes the target position. We found a mode transition from the reactive to anticipatory mode. The proposed integrated model provides a framework to understand the antici-patory behaviour of human, focusing on the integration of visual and soma-tosensory information. The time delays in visual processing and somatosensory feedback are explicitly treated in the simultaneous differential equations. The anticipatory behaviour observed in the visual tracking experiments can be ex-plained by the feedforward term of target velocity, internal dynamics, and time delay in somatosensory feedback.