Connecting Interactive Arts and Virtual Reality with Enaction

This paper reports on a Virtual Reality theater experiment named Il était Xn fois, conducted by artists and computer scientists working in cognitive science. It offered the opportunity for knowledge and ideas exchange between these groups, highlighting the benefits of collaboration of this kind. Section 1 explains the link between enaction in cognitive science and virtual reality, and specifically the need to develop an autonomous entity which enhances presence in an artificial world. Section 2 argues that enactive artificial intelligence is able to produce such autonomy. This was demonstrated by the theatrical experiment, "Il était Xn fois" (in English: Once upon Xn time), explained in section 3. Its first public performance was in 2009, by the company Dérézo. The last section offers the view that enaction can form a common ground between the artistic and computer science areas.

O marca-passo das emoções no ritmo de crianças portuguesas com necessidades educativas especiais (estudo de caso)

Estudo de caso (metodologia qualitativa) realizado em 2013sobre inteligência emocional em alunos portugueses, frequentando 1.º ciclo educação básica, com idades de 6-7 anos de 2 escolas urbanas:2 crianças (M=microcefalia, A=autismo atípico); 2 crianças (N= criança normal, H= perturbação de hiperatividade com défice de atenção). Os objetivos pretenderam: Demonstrar a importância das emoções na aprendizagem; identificar e lidar com as emoções em situações; propor estratégias para cada criança, aquando dos resultados obtidos com aplicação do teste projetivo e utilização material didático. Metodologia: atividades com ―Uma caixa cheia de emoções‟; prova projetiva ―Era uma vez…‖ Teresa Fagulha; ficha de anamnese aos pais; análise documental aos processos; observação participante; notas de campo e triangulação. Os resultados permitiram estabelecer estratégias para diminuir os fatores de distratibilidade, facilitar a atenção com material visualmente atrativo e manuseável e fornecer instruções acompanhadas de observação. Houve dificuldades nos sujeitos em identificar a ‘ira’ e ‘raiva‘.

Pequena história do azul. O azul como imagem e limite do visível: Manlio Brusatin e a perspectiva pictórica

Among the conscience of the intrinsic value of the pictorial, it resides a continuum understanding of which is fundamental in the relationships and contradictions of succedaneum poetic acts, and they will be better understood as the better we think as M. Brusatin, in order to «dedicate ourselves to the painting return». Reminding all that which was symptomatic and repeatedly hidden and deprecated by the draw – «the colour as decorative complement of the narrative allegory of art history», in our interpretation about Storia dei Colori, we follow the painting in its nature-temporal-space, seeing the “colour-image”, the “colour- shadow”, the “flux to light in white-opacity”. We count the intrinsic vitality of bluish life in people’s cultures; listening to it in its deepness, also in the singular profession’s act, as «once upon a time there was a time again, naturally, the once upon the time of being the Painter» as, for instance, Rafael, Kandinsky, Yves Klein, Mark Rothko and Gerhard Richter.

The extravaganzas of J. R. Planché, esq., (Somerset herald) 1825-1871.

Imperfect: List of subscribers wanting.

Contributos da tecnologia multimédia e do multissensorial nas artesn performativas Era Uma Vez

O presente projeto de intervenção artística com o nome “Era Uma Vez” tem como objetivo transformar Contos Tradicionais numa Performance interativa, recorrendo à tecnologia multimédia, no sentido de proporcionar ao público visitante uma viagem pelo mundo da fantasia, num ambiente multissensorial. Neste sentido, pretendeu-se implementar um espaço de lazer, de relaxamento e um convite ao mundo da fantasia, fazendo sonhar e maravilhando todos os públicos envolvidos. O local de realização da Performance foi um espaço não convencional, um prédio antigo, atualmente desabituado, na cidade de Viseu. Quanto à Performance pretendeu-se que os intérpretes e todo o espaço envolvente provocasse no público múltiplas sensações. Estas provocações poderiam libertar memórias, não fossem as histórias ou os contos muitas vezes responsáveis por incutir determinados sentimentos, valores morais e princípios ideológicos. O uso das tecnologias multimédia nas artes tem tido um crescimento exponencial. Atualmente são muitas as formas de arte que adotam a multimédia no seu processo criativo, este fator provém da necessidade de criar novas ideias, procurar ser original, tornar o produto mais atrativo. A afirmação de espaços multissensoriais ou MSE (Multi Sensory Environment - ambiente multissensorial) tem sido notável. A exploração desta metodologia de trabalho destina-se para além do desenvolvimento e aprendizagem, o querer proporcionar, bem-estar, prazer, exploração, relaxamento e encontrar equilíbrio. A metodologia aplicada para a criação deste projeto é a Metodologia Projetual de Bruno Munari. Tratando-se de um projeto artístico tem uma organização simples e minimalista que resulta de um esquema cujo a ordem é definida pelo autor do projeto mediante as suas necessidades. A Estreia teve como resultado um balanço muito positivo por parte dos participantes, a adesão e a participação do público interagindo com todo o ambiente criado superou as expectativas.

“Crescer só… entre muitos” : Autopercepções e emoções em crianças institucionalizadas

Dissertação de Mestrado apresentada no Instituto Superior de Psicologia Aplicada para obtenção de grau de Mestre na especialidade de Psicologia Clínica

Era uma vez...As sete casas da infortuna: relação actor - marioneta : Relatório de estágio

O presente relatório tem como objectivo analisar a realidade de uma Companhia de Marionetas em Portugal, Teatro e Marionetas de Mandrágora, incidindo sobre a relação entre o actor, marioneta e meio envolvente (site specific) no contexto de uma prática teatral concreta, a produção do espectáculo Era uma vez ...As Sete Casas da Infortuna, no Castelo de Santa Maria da Feira. Os resultados apurados acompanham os moldes em que se procurou passar de um actor convencional para a especialização de um micromundo teatral onde a aprendizagem foi, fulcral desde o processo de construção até, à manipulação em cena num universo de trabalho particularmente árduo e específico. A minha trajectória no seio da companhia começou pela familiarização e aprendizagem informal da prática das marionetas através da observação directa dos espectáculos e de diferentes projectos da companhia. A formação feita no local de estágio (atelier da Companhia) foi outra das modalidades de formação que acompanhou o meu trajecto ao longo do estágio através da minha colaboração em projectos como Teatro nas Instituições, sempre sob a égide da divisão de tarefas e de alguma autoaprendizagem com a devida supervisão e orientação de artistas especialistas, como o Director Criativo, enVide neFelibata. O laboratório de aprendizagem prosseguiu pela mão da marionetista Clara Ribeiro que orientou a minha formação no sentido de absorver princípios teórico-práticos como o Foco, o Movimento e o Olhar para uma melhor consciencialização do universo do teatro de marionetas e formas animadas. Ainda nessa aprendizagem, a figura de alguns artistas especialistas foi fulcral, nomeadamente a da cenógrafa Marta Fernandes da Silva, que revelou ser de extrema importância ao longo do estágio pois permitiu uma verdadeira intersecção entre as componentes teórica e prática. Dessa forma pude acompanhar todo o processo de criação do Era uma vez ...As Sete Casas da Infortuna, e colaborar na construção das marionetas que iria manipular como actor - marionetista. Relativamente à questão da componente da interpretação no estágio, esta foi assumida pela encenadora - marionetista, Filipa Alexandre que, com a sua orientação, permitiu um enfoque do grupo de trabalho num processo de criação colectiva. Assim, a nível pessoal, fui movido por uma necessidade premente de descodificar o papel do actor na sua relação com a marioneta e o meio envolvente (site specific). ABSTRACT: This study aims to examine the reality of a Puppet Company in Portugal, the Puppet Theater of Mandrágora, focusing on the relationship between actor, puppet and environment (site specific) in the context of an actual theatrical practice, Once upon a time ...Seven houses of infortune, in the Castle of Santa Maria da Feira. The results obtained follow the way in which one seeks to move from one "conventional" actor to the specialization of a micro theater where learning was central from the building process to manipulation on the scene in a universe of work particularly hard and specific. My initial course within the company began with the familiarization and informal learning of the practice of puppetry through direct observation of performances and various projects of the company. The training done at the company (workshop of the Company) was one of the training arrangements that accompanied my way along the training through assistance on projects such as Teatro nas Instituições, always under the auspices of the division of tasks and due self-teaching with appropriate supervision and guidance of expert artists, such as the Creative Director, enVide neFelibata. The learning laboratory continued by the hand of the puppeteer Clara Ribeiro who supervised my training in order to absorb theoretical and practical principles as the Focus, the Movement and the Look for better awareness of the world of puppetry and animated forms. Also at this level, the figure of some specialist artists were central, such as the scenographer Marta Fernandes da Silva, who proved to be extremely important during this training, allowing a true intersection between the theoretical and the practical components. I could experience the surroundings of the creation notebook of Era uma vez ...As Sete Casas da Infortuna, and collaborate in the preparation of puppets that would handle as an actor - puppeteer. As to the question of the interpretation component on training, this was in charge of stage director - puppeteer, and the Artistic Director, Filipa Alexandre, whose instructions allowed a focus of the working group in a process of collective creation. Accordingly, to a personal level, I was urged to decode the role of the actor in relation to the puppet and the environment (site specific).

Use of α- and β-subunit specific antibodies in studying interaction of hCG with Leydig cell receptors

Antisera (a/s) raised to individual α- and β-subunits of human chorionic gonadotropin (hCG) have been characterized for specificity using immunoaffinity procedures and used to study the disposition of the two subunits when intact hCG is complexed with luteinizing hormone (LH) receptor of the Leydig cells. Three kinds of experiments were done. (a) The ability of the preformed hormone-antibody (H-Ab) complex to bind to receptor and stimulate a response; (b) the ability of the a/s to dissociate hCG from its complex with the receptor and thereby terminate response; and (c) the ability of the premixed antibody and receptor to compete for binding of labeled hCG. Although the subunit specific a/s used here were equipotent in binding hCG (capacity to bind and Ka being very similar), their behavior once the receptor preparation or Leydig cell is introduced into the system was drastically different. The β-subunit antibody relative to the α-subunit antibody, appeared to be poorly effective in preventing hCG from either binding to the receptor or inhibiting the continuation of response. The results suggest that hCG upon interaction with the receptor loses the determinants specific to the β-region more rapidly compared to those specific to the α-region suggesting thereby that the initial interaction of hCG with the receptor should be occurring through sites in the β-subunit. Although the α-subunit portion of the hCG molecule is available for binding to the antibody for a relatively longer time, the biological response of the cell seems very sensitive to such binding with the antibody as it invariably results in loss of response. In the Leydig cell system, the ability of the a/s to bind hCG that is already complexed to the receptor appears to be dependent upon the time of addition of the antibody to the incubation medium. The antisera were totally ineffective in inhibiting steroidogenic response to hCG if added 60 min after addition of hCG. This would suggest that the hormone-receptor complex once formed perhaps continues to change its orientation with the result that with time relatively less and less of antigenic determinants become available for antibody binding.

Realization of write-once-read-many-times memory devices based on poly(N-vinylcarbazole) by thermally annealing

A nonvolatile write-once-read-many-time (WORM-time) memory device based on poly(N-vinylcarbazole) (PVK) films was realized by thermally annealing. The device can be fabricated using a simple spin coat method. It was found that the control of PVK film surface morphology by thermally annealing plays an important role in achieving the WORM memory properties. The memory device showed an ON/OFF current ratio as high as 10(4) and the retention time was over 2000 s without degradation.

Variability in thermal and UV-B energy fluxes through time and their influence on plant diversity and speciation

Throughout Earth's history there have been temporal and spatial variations in the amount of visible and ultraviolet radiation received by ecosystems. This paper examines if temporal changes in these forms of energy receipt could have influenced the tempo and mode of plant diversity and speciation, focusing in particular upon Cenozoic time-scales. Evidence for changing patterns of plant diversity and speciation apparent in various fossil records and molecular phylogenies are considered alongside calculated changes in thermal and solar ultraviolet energy (specifically UV-B) over the past 50 Myr. We suggest that changes in thermal energy influx (amount and variability) affected the tempo of evolution through its influence upon community dynamics (e.g. population size, diversity, turnover, extinctions). It was not only the amount of thermal energy but also variability in its flux that may have influenced these processes, and ultimately the rate of diversification. We suggest that variations in UV-B would have influenced the mode and tempo of speciation through changes to genome stability during intervals of elevated UV-B. We argue, therefore, that although variability in thermal energy and UV-B fluxes through time may lead to the same end-point (changing the rate of diversification), the processes responsible are very different and both need to be considered when linking evolutionary processes to energy flux.

Video anomaly detection in real-time on a Power-Aware Heterogeneous Platform

FPGAs and GPUs are often used when real-time performance in video processing is required. An accelerated processor is chosen based on task-specific priorities (power consumption, processing time and detection accuracy), and this decision is normally made once at design time. All three characteristics are important, particularly in battery-powered systems. Here we propose a method for moving selection of processing platform from a single design-time choice to a continuous run time one.We implement Histogram of Oriented Gradients (HOG) detectors for cars and people and Mixture of Gaussians (MoG) motion detectors running across FPGA, GPU and CPU in a heterogeneous system. We use this to detect illegally parked vehicles in urban scenes. Power, time and accuracy information for each detector is characterised. An anomaly measure is assigned to each detected object based on its trajectory and location, when compared to learned contextual movement patterns. This drives processor and implementation selection, so that scenes with high behavioural anomalies are processed with faster but more power hungry implementations, but routine or static time periods are processed with power-optimised, less accurate, slower versions. Real-time performance is evaluated on video datasets including i-LIDS. Compared to power-optimised static selection, automatic dynamic implementation mapping is 10% more accurate but draws 12W extra power in our testbed desktop system.

A participatory design agenda for ubiquitous computing : a case study in dental practice

This paper reflects upon our attempts to bring a participatory design approach to design research into interfaces that better support dental practice. The project brought together design researchers, general and specialist dental practitioners, the CEO of a dental software company and, to a limited extent, dental patients. We explored the potential for deployment of speech and gesture technologies in the challenging and authentic context of dental practices. The paper describes the various motivations behind the project, the negotiation of access and the development of the participant relationships as seen from the researchers' perspectives. Conducting participatory design sessions with busy professionals demands preparation, improvisation, and clarity of purpose. The paper describes how we identified what went well and when to shift tactics. The contribution of the paper is in its description of what we learned in bringing participatory design principles to a project that spanned technical research interests, commercial objectives and placing demands upon the time of skilled professionals.

Entrepreneurial discovery and exploitation processes : sequence or symbiosis?

This study examined the effect that temporal order within the entrepreneurial discovery-exploitation process has on the outcomes of venture creation. Consistent with sequential theories of discovery-exploitation, the general flow of venture creation was found to be directed from discovery toward exploitation in a random sample of nascent ventures. However, venture creation attempts which specifically follow this sequence derive poor outcomes. Moreover, simultaneous discovery-exploitation was the most prevalent temporal order observed, and venture attempts that proceed in this manner more likely become operational. These findings suggest that venture creation is a multi-scale phenomenon that is at once directional in time, and simultaneously driven by symbiotically coupled discovery and exploitation.

A sequence analytic model of entrepreneurial discovery and exploitation process

This study examined the effect that temporal order within the entrepreneurial discovery exploitation process has on the outcomes of venture creation. Consistent with sequential theories of discovery-exploitation, the general flow of venture creation was found to be directed from discovery toward exploitation in a random sample of nascent ventures. However, venture creation attempts which specifically follow this sequence derive poor outcomes. Moreover, simultaneous discovery-exploitation was the most prevalent temporal order observed, and venture attempts that proceed in this manner more likely become operational. These findings suggest that venture creation is a multi-scale phenomenon that is at once directional in time, and simultaneously driven by symbiotically coupled discovery and exploitation.

Risk taking by motorcyclists : rider training and stages of change

Motorcyclists in Australia have been found to be 30 times more likely to be killed per kilometre travelled than car occupants and 40 times more likely to be seriously injured. One approach to preventing motorcycle-related injury is through training and education. While there is traditionally a major focus on developing riding skills during training for motorcyclists, there is also a need for training to promote safe riding to reduce subsequent risk taking. The Transtheoretical Model, commonly known as the ‘Stages of Change’ model, provides a rationale to support incremental behaviour change for risky riding that may be facilitated through motorcycle rider training and education. A sample of 438 learner motorcyclists attended a rider training program in Queensland, Australia, with the stages of change to adopt a safe riding mindset and safe riding practices being measured upon commencement of the course (Time 1) and then again upon completion (Time 2). A small subset of the original sample (n=45) responded at follow up 24 months post training (Time 3). Consistent with the aims of training, results showed a significant shift from the contemplation stage to the subsequent stages of change for participants between Time 1 and Time 2. Progression to the later stages in the model was found for the subset of participants that responded at the Time 3 follow up. Issues of questionnaire design and the utility of the Transtheoretical Model for motorcycle rider training are discussed.