De la relation d’aide à la rencontre créative : le récit numérique comme outil de reconnaissance mutuelle

Cette recherche exploratoire vise à documenter, du point de vue des intervenants, les conditions nécessaires à la mise en place de projets utilisant des outils de narrativité numérique, de même que les principaux apports de ces outils à l’intervention. Ces outils peuvent être des récits numériques qui sont de courtes vidéos (deux à cinq minutes) intégrant images, musique, texte, voix et animation, ou encore de courts fichiers audio, aussi appelés podcasting ou baladodiffusion. Il peut aussi s’agir de jeux vidéo interactifs ou d’un montage vidéo à partir d’extraits de témoignages. Dans un contexte où les pratiques d’intervention, dans les services publics en particulier, sont de plus en plus normées et standardisées, une recherche qui explore des outils d’intervention recourant à la créativité s’avère des plus pertinentes. Par ailleurs, ce champ n’a été que très peu exploré en service social jusqu’à maintenant. Des entrevues semi-dirigées ont été menées auprès de huit intervenants ayant utilisé ces outils dans leur pratique. L’analyse de leurs propos met d’abord en lumière les conditions nécessaires à la réalisation de ce type de projet, de même que les questions éthiques qui les accompagnent. Ensuite, du côté des principaux apports de ces outils, ils se situent, d’une part, dans le processus créatif collaboratif. Celui-ci permet d’enrichir l’intervention en donnant un espace de parole plus libre où intervenants et usagers créent des liens qui modifient le rapport hiérarchique entre aidant et aidé. D’autre part, l’attention professionnelle accordée à la réalisation des produits et à leur diffusion contribue à donner une plus grande visibilité à des personnes souvent exclues de l’espace public. Ainsi, en plus d’explorer les apports d’un outil artistique à l’intervention, cette recherche permet également d’analyser les enjeux de visibilité et de reconnaissance associés à l’utilisation de médias participatifs.

Redefinición de las TIC en el museo: del discurso invasivo al inclusivo

Las TIC son inseparables de la museografía in situ e imprescindibles en la museografía en red fija y móvil. En demasiados casos se han instalado prótesis tecnológicas para barnizar de modernidad el espacio cultural, olvidando que la tecnología debe estar al servicio de los contenidos de manera que resulte invisible y perfectamente imbricada con la museografía tradicional. Las interfaces móviles pueden fusionar museo in situ y en red y acompañar a las personas más allá del espacio físico. Esa fusión debe partir de una base de datos narrativa y abierta a obras materiales e inmateriales de otros museos de manera que no se trasladen las limitaciones del museo físico al virtual. En el museo in situ tienen sentido las instalaciones hipermedia inmersivas que faciliten experiencias culturales innovadoras. La interactividad (relaciones virtuales) debe convivir con la interacción (relaciones físicas y personales) y estar al servicio de todas las personas, partiendo de que todas, todos tenemos limitaciones. Trabajar interdisciplinarmente ayuda a comprender mejor el museo para ponerlo al servicio de las personas.

Influencing Perceived Agency: A Study into User Experiences in Digital Interactive Storytelling

User experience is a crucial element in interactive storytelling, and as such it is important to recognize the different aspects of a positive user experience in an interactive story. Towards that goal, in the first half of this thesis, we will go through the different elements that make up the user experience, with a strong focus on agency. Agency can be understood as the user’s ability to affect the story or the world in which the story is told with interesting and satisfying choices. The freedoms granted by agency are not completely compatible with traditional storytelling, and as such we will also go through some of the issues of agency-centric design philosophies and explore alternate schools of thought. The core purpose of this thesis is to determine the most important aspects of agency with regards to a positive user experience and attempt to find ways for authors to improve the overall quality of user experience in interactive stories. The latter half of this thesis deals with the research conducted on this matter. This research was carried out by analyzing data from an online survey coupled with data gathered by the interactive storytelling system specifically made for this research (Regicide). The most important aspects of this research deal with influencing perceived agency and facilitating an illusion of agency in different ways, and comparing user experiences in these different test environments. The most important findings based on this research include the importance of context-controlled and focused agency and settings in which the agency takes place and the importance of ensuring user-competency within an interactive storytelling system. Another essential conclusion to this research boils down to communication between the user and the system; the goal of influencing perceived agency should primarily be to ensure that the user is aware of all the theoretical agency they possess.

InStory – The Making of na Interactive Digital Narrative

Em cooperação com Glorianna Davenport do M.I.T. Media Lab

Documenting InStory – Mobile Storytelling in a Cultural Heritage Environment

This paper describes the process and problems that had to be faced during the elaboration of a digital interactive narrative for the Instory project (http://img.di.fct.unl.pt/InStory/) implanted in «Quinta da Regaleira», Sintra, Portugal, and classified as World Heritage by Unesco. It also explores some of the practical and theoretical issues in what regards the literary terminology and strategies involved.

The right to be forgotten under European Law: a Constitutional debate

Cet article met en lumière la perspective européenne sur un des plus importants défis que l’Internet et le Web 2.0 présente pour la vie privée et le droit à la protection des données. L’auteur y soulève des problématiques liées à la mémoire numérique et distingue à partir de plusieurs cas où les individus seraient intéressés de réclamer l'oubli tant dans les réseaux sociaux, les journaux officiels des gouvernements et dans les bibliothèques médiatiques numériques. Il trace l’histoire de l’identification du droit à l’oubli dont les fondements ont été définis par les agences françaises, italiennes et espagnoles de protection des données. En conclusion, il pose son regard sur un nouveau cadre européen de la protection des données comprenant le droit individuel à voir leurs données supprimées lorsqu’elles ne sont plus nécessaires à des fins légitimes.

Alternative diagnostic diagrams and the `forgotten` population of weak line galaxies in the SDSS

A numerous population of weak line galaxies (WLGs) is often left out of statistical studies on emission-line galaxies (ELGs) due to the absence of an adequate classification scheme, since classical diagnostic diagrams, such as [O iii]/H beta versus [N ii]/H alpha (the BPT diagram), require the measurement of at least four emission lines. This paper aims to remedy this situation by transposing the usual divisory lines between star-forming (SF) galaxies and active galactic nuclei (AGN) hosts and between Seyferts and LINERs to diagrams that are more economical in terms of line quality requirements. By doing this, we rescue from the classification limbo a substantial number of sources and modify the global census of ELGs. More specifically, (1) we use the Sloan Digital Sky Survey Data Release 7 to constitute a suitable sample of 280 000 ELGs, one-third of which are WLGs. (2) Galaxies with strong emission lines are classified using the widely applied criteria of Kewley et al., Kauffmann et al. and Stasinska et al. to distinguish SF galaxies and AGN hosts and Kewley et al. to distinguish Seyferts from LINERs. (3) We transpose these classification schemes to alternative diagrams keeping [N ii]/H alpha as a horizontal axis, but replacing H beta by a stronger line (H alpha or [O ii]), or substituting the ionization-level sensitive [O iii]/H beta ratio with the equivalent width of H alpha (W(H alpha)). Optimized equations for the transposed divisory lines are provided. (4) We show that nothing significant is lost in the translation, but that the new diagrams allow one to classify up to 50 per cent more ELGs. (5) Introducing WLGs in the census of galaxies in the local Universe increases the proportion of metal-rich SF galaxies and especially LINERs. In the course of this analysis, we were led to make the following points. (i) The Kewley et al. BPT line for galaxy classification is generally ill-used. (ii) Replacing [O iii]/H beta by W(H alpha) in the classification introduces a change in the philosophy of the distinction between LINERs and Seyferts, but not in its results. Because the W(H alpha) versus [N ii]/H alpha diagram can be applied to the largest sample of ELGs without loss of discriminating power between Seyferts and LINERs, we recommend its use in further studies. (iii) The dichotomy between Seyferts and LINERs is washed out by WLGs in the BPT plane, but it subsists in other diagnostic diagrams. This suggests that the right wing in the BPT diagram is indeed populated by at least two classes, tentatively identified with bona fide AGN and `retired` galaxies that have stopped forming stars and are ionized by their old stellar populations.

O direito ao esquecimento na era digital: desafios da regulação da desvinculação de urls prejudiciais a pessoas naturais nos índices de pesquisa dos buscadores horizontais

No julgamento do recurso especial referente à ação ajuizada pela apresentadora Xuxa Meneghel para compelir o Google Search a desvincular dos seus índices de busca os resultados relativos à pesquisa sobre a expressão “Xuxa pedófila” ou qualquer outra que associasse o nome da autora a esta prática criminosa, a relatora da decisão, a Ministra Nancy Andrighi, definiu de maneira clara a controvérsia de que cuida este trabalho: o cotidiano de milhares de pessoas depende atualmente de informações que estão na web, e que dificilmente seriam encontradas sem a utilização das ferramentas de pesquisas oferecidas pelos sites de busca. Por outro lado, esses mesmos buscadores horizontais podem ser usados para a localização de páginas com informações, URLs prejudiciais resultantes da busca com o nome das pessoas. Diante disso, o que fazer? Existiria realmente um direito de ser esquecido, isto é, de ter uma URL resultante de uma pesquisa sobre o nome de uma pessoa desvinculado do índice de pesquisa do buscador horizontal? Há quem afirme que a medida mais apropriada para lidar com esse problema seria ir atrás do terceiro que publicou essa informação originariamente na web. Há também quem defenda que a proteção de um direito de ser esquecido representaria uma ameaça grande demais para a liberdade de expressão e de informação. Diante deste quadro, esta dissertação visa a estabelecer quais podem ser as características e os limites do direito ao esquecimento na era digital, de acordo com o estado atual da legislação brasileira a respeito, confrontando-se tal direito com outros direitos e interesses públicos e privados (especialmente o direito à liberdade de expressão e à informação) e levando em conta as características de funcionamento da própria rede mundial de computadores, em especial das ferramentas de buscas. Tendo em vista a importância dos buscadores horizontais no exercício do acesso à informação e, além disso, as dificuldades relacionadas à retirada de URLs de todos os sítios em que tenham sido publicadas, nossa pesquisa focará no potencial – e nas dificuldades – de se empregar a regulação de tais ferramentas de busca para a proteção eficaz do direito ao esquecimento na era digital.

TV digital: propostas para desenvolvimento de conteúdos em animação para o ensino de ciências

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

A estética da imagem na TV digital

This text reflects on the techniques and the process of image production and its artistic composition to digital television in high defini- tion, whereas the 4:3 and 16:9 formats will exist until shutdown of the analog signal. Within this period, consumers of television programming that have analog receivers will continue to see the images in 4:3 format. That fact determines that the productions in high definition, while capturing images with larger viewing area and have high contrast ratio (>1000:1) must be main- tain the elements of visual storytelling within the smallest area and with the contrast ratio of the analog tv (30:1), at the risk of distorting visually the messages produced by the directors.

Talking Tools, Suffering Servants, and Defecating Men: The Power of Storytelling in Maithil Women’s Tales

What can we learn about the way that folk storytelling operates for tellers and audience members by examining the telling of stories by characters within such narratives? I examine Maithil women’s folktales in which stories of women’s suffering at the hands of other women are first suppressed and later overheard by men who have the power to alleviate such suffering. Maithil women are pitted against one another in their pursuit of security and resources in the context of patrilineal formations. The solidarities such women nonetheless form—in part through sharing stories and keeping each other’s secrets—serve to mitigate their suffering and maintain a counter-system of ideational patterns and practices.