Figures i mirades salvatges en el cinema de Werner Herzog

Aquest treball de recerca vol explorar com el concepte del salvatge europeu es plasmaen l'obra del cineasta alemany Werner Herzog. Aquesta plasmació es produeix tant anivell figuratiu i narratiu com a nivell estètic. Per una banda, en aquests films hi ha un treball del cos i de com aquest es sotmet a diverses regles socials i de representació, que el salvatge contestarà amb un rebuig de l'ordre establert, sovint concretat en la idea de fuga cap a la natura. Per altra banda, l'estètica dels films de Herzog respon al que denominem una mirada salvatge: la representació d'una societat teatral que s'enfonsa, per una banda, i l'ús de recursos formals per a reproduir una mirada primigènia sobre les imatges, per l'altra. En tots els casos, la dinàmica d'alliberament de les forces civilitzadores constitueix el fonament de la narració i l'estètica del cineasta alemany.

Els Colors : estratègia i imatge empresarial

L’estudi presentat en aquest informe correspon a la investigació al voltant del paper del color al màrqueting empresarial. La seva influència, ja sigui com a eina comunicativa o identificadora d’un producte o empresa, es torna molt superior a la qualse li podria atribuir en un primer moment (fins al punt de convertir-se en un aspecte clau) quan s’observa la reacció dels consumidors davant les seves variacions i l’aplicació que en fan les companyies.La primera idea a confirmar pel treball és el caràcter inconscient de les reaccions generades per la percepció visual i les motivacions existents per explotarles.Un estudi sobre els precursors i les teories actuals de la psicologia del color condueix a una comparació entre allò que reflecteixen els estudis amb la realitat empresarial actual, mostrant una correlació evident entre valors de les organitzacions iles seves expressions pictòriques i exemplificant situacions de coincidència entre canvi de color i canvi d’estratègia corporativa. Aquest procés dóna lloc a la hipòtesi principal: el color és un element indispensable del procés de comercialització.Per tal de contrastar-la, inicialment s’acudirà a l’evidència recaptada mitjançant un qüestionari d’elaboració pròpia. A partir dels seus resultats, observarem com els consumidors no creuen estar tan influenciats per l’estètica i el color dels productes que compren com efectivament ho estan, i podrem seguir reafirmant la teoria exposada a la primera part amb paral·lelismes respecte les opinions mostrades.A continuació, es reflexionarà sobre quatre funcions del color aplicades a l’empresa de les quals aquestes es poden beneficiar: segmentador de mercats, indicador de canvi de tendència, identificador nacional i element associatiu immediat.Les determinacions preses a cada apartat a partir de reflexions teòriques i exemples formaran un entramat de conclusions que posarà fi al projecte en un apartat en el quals’ordenen les bases per a la correcta aplicació del color al món empresarial, en funció del rol de la companyia dins del seu mercat, els valors a transmetre, el tipus de producte a comerciar, etc.Finalment, els nombrosos fonaments que se li poden atribuir a favor fan que lahipòtesi inicial quedi ratificada com a certa, ja que es demostrarà una permanent voluntat per part de les empreses d’influir sobre el comportament dels destinataris del seu procés publicitari mitjançant aquest recurs, ja sigui de manera directa o indirecta.

Cultural differences on seeking information: an eye tracking study

The main goal of this research is to investigate how people with different cultural background differ in their interaction style and visual behavior on search engine results pages (SERP), more specifically between groups from the Middle Eastern region vs. Western Europe. We conducted a controlled eye-tracking experiment to explore and evaluate the visual behavior of Arabs and Spaniardusers when scanning through the first page of the search results in Google. Big differences can be observed in the 4 aspects studied: U.A.E. participants stayed on the SERPs for longer, they read more results and they read each snippet in a more complete way than Spaniards. In Spain, people tended to scan the SERP, reading less text on each snippet, and choose a result among the first top rankedones without hardly seeing those in bottom positions.

Superioridad del procesamiento de los rasgos globales en función de la densidad estimular

Se ha sometido a comprobación empírica la hipótesis de la precedencia global (Navon, 1977, 1981a, 1983), según la cual el analisis de los rasgos globales de una configuración visual precede temporalmente al de los locales. Se ha demostrado que la naturaleza del estimulo es un factor que modula la aparición de primacia global cuando el material manejado es verbal y altamente familiar, pero no cuando es visoespacial y novedoso para el sujeto. Sin embargo, [os presentes experitnentos han sugerido que el efecto del grado de novedad del estimulo se ve anulado cuando se manipula el número de elementos locales que cornponen la imagen visual. Se ha obtenido el efecto tipico de precedencia global, independienternente de la naturaleza del estimulo, cuando la configuracidn estuba formada por muchos elementos locales (7x6). Para estímulos con 5x4 constituyentes se ha obtenido el efecto contrario, es decir, la información local era analizada con mayor rapidez que la global. Los resultados han sido explicados en base al agrupamiento de 1os rasgos locales de la imagen visual.

Col·lecció permanentment en trànsit. Àlbum de viatge de Margot, l'obra picassiana

Les obres no només són des del moment que neixen, sinó que es fan al llarg del temps, i nosaltres les persones, generació rere generació, intervenim en aquest creixement. Heus aquí la importància de l¿àlbum, de l¿històric, de la provinença, del diari personal, del carnet, o de l¿estudi de la vida de l¿obra. Aquest treball es centra en estudiar com afecta l¿exposició d¿una obra, la posada en escena, en la percepció i la transmissió de coneixement d¿aquesta. L¿estudi està basat en l¿exemple d¿un cas concret, Margot, l¿obra picassiana del 1901. Per arribar-hi ha calgut conèixer la vida de l¿obra: des del context en què fou creada; als col·leccionistes o museus que l¿han acollit o l¿acullen; i als espais expositius on ha estat amb les acumulades exposicions temporals. Aquest recorregut històric l¿anomenem ¿àlbum de viatge¿. És en relació a la mobilitat de les obres, que ens qüestionem sobre els impactes de les exposicions temporals, aquesta observació és fonamentada, en aquest estudi, per l¿anàlisi transversal de la construcció de l¿¿àlbum¿ i les entrevistes realitzades al personal expert de l¿actual institució propietària de la peça objecte d¿estudi, el Museu Picasso de Barcelona.

El treball amb percussió corporal ajuda a millorar l'atenció i la concentració?

Diferents civilitzacions han basat les seves mostres culturals en el ritme i l’ús del cos com a instrument. Moltes són tradicions ancestrals, que passen de generació en generació, sense cap anotació musical. Per tant, aquestes danses, basades en la percussió corporal, tenen com a elements bàsics l’atenció i la memorització. Diversos professionals (K. Terry, J. Romero, S. Serratosa...) han defensat que la pràctica de la percussió corporal aporta beneficis a tots nivells: potenciació de l’autoestima, reconeixement i acceptació del propi cos... Són precisament aquests fets els que han convertit aquesta disciplina en una metodologia present a les aules de Primària. L’objectiu d’aquesta recerca segueix aquesta línia: comprovar si, a través del treball de la percussió corporal, els alumnes de cicle mitjà del centre La Monjoia milloren la seva capacitat d’atenció i memorització. Per avaluar-ho, s’usaran un test de percepció auditiva i un de percepció visual i els resultats es contrastaran amb l’opinió de diversos docents.

Drift and ownership toward a distant virtual body.

In body ownership illusions participants feel that a mannequin or virtual body (VB) is their own. Earlier results suggest that body ownership over a body seen from behind in extra personal space is possible when the surrogate body is visually stroked and tapped on its back, while spatially and temporal synchronous tactile stimulation is applied to the participant's back. This result has been disputed with the claim that the results can be explained by self-recognition rather than somatic body ownership. We carried out an experiment with 30 participants in a between-groups design. They all saw the back of a VB 1.2 m in front, that moved in real-time determined by upper body motion capture. All felt tactile stimulation on their back, and for 15 of them this was spatially and temporally synchronous with stimulation that they saw on the back of the VB, but asynchronous for the other 15. After 3 min a revolving fan above the VB descended and stopped at the position of the VB neck. A questionnaire assessed referral of touch to the VB, body ownership, the illusion of drifting forwards toward the VB, and the VB drifting backwards. Heart rate deceleration (HRD) and the amount of head movement during the threat period were used to assess the response to the threat from the fan. Results showed that although referral of touch was significantly greater in the synchronous condition than the asynchronous, there were no other differences between the conditions. However, a further multivariate analysis revealed that in the visuotactile synchronous condition HRD and head movement increased with the illusion of forward drift and decreased with backwards drift. Body ownership contributed positively to these drift sensations. Our conclusion is that the setup results in a contradiction-somatic feelings associated with a distant body-that the brain attempts to resolve by generating drift illusions that would make the two bodies coincide.

Proxemics with multiple dynamic characters in an immersive virtual environment

An experiment was carried out to examine the impact on electrodermal activity of people when approached by groups of one or four virtual characters at varying distances. It was premised on the basis of proxemics theory that the closer the approach of the virtual characters to the participant, the greater the level of physiological arousal. Physiological arousal was measured by the number of skin conductance responses within a short time period after the approach, and the maximum change in skin conductance level 5 s after the approach. The virtual characters were each either female or a cylinder of human size, and one or four characters approached each subject a total of 12 times. Twelve male subjects were recruited for the experiment. The results suggest that the number of skin conductance responses after the approach and the change in skin conductance level increased the closer the virtual characters approached toward the participants. Moreover, these response variables were inversely correlated with the number of visits, showing a typical adaptation effect. There was some evidence to suggest that the number of characters who simultaneously approached (one or four) was positively associated with the responses. Surprisingly there was no evidence of a difference in response between the humanoid characters and cylinders on the basis of this physiological data. It is suggested that the similarity in this quantitative arousal response to virtual characters and virtual objects might mask a profound difference in qualitative response, an interpretation supported by questionnaire and interview results. Overall the experiment supported the premise that people exhibit heightened physiological arousal the closer they are approached by virtual characters.

Proxemics with multiple dynamic characters in an immersive virtual environment

An experiment was carried out to examine the impact on electrodermal activity of people when approached by groups of one or four virtual characters at varying distances. It was premised on the basis of proxemics theory that the closer the approach of the virtual characters to the participant, the greater the level of physiological arousal. Physiological arousal was measured by the number of skin conductance responses within a short time period after the approach, and the maximum change in skin conductance level 5 s after the approach. The virtual characters were each either female or a cylinder of human size, and one or four characters approached each subject a total of 12 times. Twelve male subjects were recruited for the experiment. The results suggest that the number of skin conductance responses after the approach and the change in skin conductance level increased the closer the virtual characters approached toward the participants. Moreover, these response variables were inversely correlated with the number of visits, showing a typical adaptation effect. There was some evidence to suggest that the number of characters who simultaneously approached (one or four) was positively associated with the responses. Surprisingly there was no evidence of a difference in response between the humanoid characters and cylinders on the basis of this physiological data. It is suggested that the similarity in this quantitative arousal response to virtual characters and virtual objects might mask a profound difference in qualitative response, an interpretation supported by questionnaire and interview results. Overall the experiment supported the premise that people exhibit heightened physiological arousal the closer they are approached by virtual characters.

Place illusion and plausibility can lead to realistic behaviour in immersive virtual environments

In this paper address we the question as to why participants tend to respond realistically to situations and events portrayed within an Immersive Virtual Reality (IVR) system. The idea is put forward, based on experience of a large number of experimental studies, that there are two orthogonal components that contribute to this realistic response. The first is"being there", often called"presence", the qualia of having a sensation of being in a real place. We call this Place Illusion (PI). Second, Plausibility Illusion (Psi) refers to the illusion that the scenario being depicted is actually occurring. In the case of both PI and Psi the participant knows for sure that that they are not"there" and that the events are not occurring. PI is constrained by the sensorimotor contingencies afforded by the virtual reality system. Psi is determined by the extent to which the system can produce events that directly relate to the participant, and the overall credibility of the scenario being depicted in comparison with expectations. We argue that when both PI and Psi occur, participants will respond realistically to the virtual reality.

Drift and ownership toward a distant virtual body.

In body ownership illusions participants feel that a mannequin or virtual body (VB) is their own. Earlier results suggest that body ownership over a body seen from behind in extra personal space is possible when the surrogate body is visually stroked and tapped on its back, while spatially and temporal synchronous tactile stimulation is applied to the participant's back. This result has been disputed with the claim that the results can be explained by self-recognition rather than somatic body ownership. We carried out an experiment with 30 participants in a between-groups design. They all saw the back of a VB 1.2 m in front, that moved in real-time determined by upper body motion capture. All felt tactile stimulation on their back, and for 15 of them this was spatially and temporally synchronous with stimulation that they saw on the back of the VB, but asynchronous for the other 15. After 3 min a revolving fan above the VB descended and stopped at the position of the VB neck. A questionnaire assessed referral of touch to the VB, body ownership, the illusion of drifting forwards toward the VB, and the VB drifting backwards. Heart rate deceleration (HRD) and the amount of head movement during the threat period were used to assess the response to the threat from the fan. Results showed that although referral of touch was significantly greater in the synchronous condition than the asynchronous, there were no other differences between the conditions. However, a further multivariate analysis revealed that in the visuotactile synchronous condition HRD and head movement increased with the illusion of forward drift and decreased with backwards drift. Body ownership contributed positively to these drift sensations. Our conclusion is that the setup results in a contradiction-somatic feelings associated with a distant body-that the brain attempts to resolve by generating drift illusions that would make the two bodies coincide.

The building blocks of the full body ownership illusion

Previous work has reported that it is not difficult to give people the illusion of ownership over an artificial body, providing a powerful tool for the investigation of the neural and cognitive mechanisms underlying body perception and self consciousness. We present an experimental study that uses immersive virtual reality (IVR) focused on identifying the perceptual building blocks of this illusion. We systematically manipulated visuotactile and visual sensorimotor contingencies, visual perspective, and the appearance of the virtual body in order to assess their relative role and mutual interaction. Consistent results from subjective reports and physiological measures showed that a first person perspective over a fake humanoid body is essential for eliciting a body ownership illusion. We found that the illusion of ownership can be generated when the virtual body has a realistic skin tone and spatially substitutes the real body seen from a first person perspective. In this case there is no need for an additional contribution of congruent visuotactile or sensorimotor cues. Additionally, we found that the processing of incongruent perceptual cues can be modulated by the level of the illusion: when the illusion is strong, incongruent cues are not experienced as incorrect. Participants exposed to asynchronous visuotactile stimulation can experience the ownership illusion and perceive touch as originating from an object seen to contact the virtual body. Analogously, when the level of realism of the virtual body is not high enough and/or when there is no spatial overlap between the two bodies, then the contribution of congruent multisensory and/or sensorimotor cues is required for evoking the illusion. On the basis of these results and inspired by findings from neurophysiological recordings in the monkey, we propose a model that accounts for many of the results reported in the literature.

Touching the void: exploring virtual objects through a vibrotactile glove

This paper describes a simple low-cost approach toadding an element of haptic interaction within a virtualenvironment. Using off-the-shelf hardware and software wedescribe a simple setup that can be used to explore physically virtual objects in space. This setup comprises of a prototype glove with a number of vibrating actuators to provide the haptic feedback, a Kinect camera for the tracking of the user's hand and a virtual reality development environment. As proof of concept and to test the efficiency of the system as well as its potential applications, we developed a simple application where we created 4 different shapes within a virtual environment in order to try toexplore them and guess their shape through touch alone.

Proxemics with multiple dynamic characters in an immersive virtual environment

An experiment was carried out to examine the impact on electrodermal activity of people when approached by groups of one or four virtual characters at varying distances. It was premised on the basis of proxemics theory that the closer the approach of the virtual characters to the participant, the greater the level of physiological arousal. Physiological arousal was measured by the number of skin conductance responses within a short time period after the approach, and the maximum change in skin conductance level 5 s after the approach. The virtual characters were each either female or a cylinder of human size, and one or four characters approached each subject a total of 12 times. Twelve male subjects were recruited for the experiment. The results suggest that the number of skin conductance responses after the approach and the change in skin conductance level increased the closer the virtual characters approached toward the participants. Moreover, these response variables were inversely correlated with the number of visits, showing a typical adaptation effect. There was some evidence to suggest that the number of characters who simultaneously approached (one or four) was positively associated with the responses. Surprisingly there was no evidence of a difference in response between the humanoid characters and cylinders on the basis of this physiological data. It is suggested that the similarity in this quantitative arousal response to virtual characters and virtual objects might mask a profound difference in qualitative response, an interpretation supported by questionnaire and interview results. Overall the experiment supported the premise that people exhibit heightened physiological arousal the closer they are approached by virtual characters.

Beaming into the rat world: enabling real-time intereaction between rat and human each at their own scale

Immersive virtual reality (IVR) typically generates the illusion in participants that they are in the displayed virtual scene where they can experience and interact in events as if they were really happening. Teleoperator (TO) systems place people at a remote physical destination embodied as a robotic device, and where typically participants have the sensation of being at the destination, with the ability to interact with entities there. In this paper, we show how to combine IVR and TO to allow a new class of application. The participant in the IVR is represented in the destination by a physical robot (TO) and simultaneously the remote place and entities within it are represented to the participant in the IVR. Hence, the IVR participant has a normal virtual reality experience, but where his or her actions and behaviour control the remote robot and can therefore have physical consequences. Here, we show how such a system can be deployed to allow a human and a rat to operate together, but the human interacting with the rat on a human scale, and the rat interacting with the human on the rat scale. The human is represented in a rat arena by a small robot that is slaved to the human"s movements, whereas the tracked rat is represented to the human in the virtual reality by a humanoid avatar. We describe the system and also a study that was designed to test whether humans can successfully play a game with the rat. The results show that the system functioned well and that the humans were able to interact with the rat to fulfil the tasks of the game. This system opens up the possibility of new applications in the life sciences involving participant observation of and interaction with animals but at human scale.