929 resultados para 751003 Visual communication
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Pós-graduação em Agronomia (Energia na Agricultura) - FCA
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The air part of the cassava is a residue which presents possibilities of being used as a non-wooden raw material in the production of pulp due to the fact that its 81 % of the adult plants air part, besides having high availability and presenting a high concentration of fibers. Studies were developed with the purpose of producing the pulps through the kraft process, which is a mix of the Na2S and NaOH in water heated up to the temperature of 160º C for about 90 minutes to the extraction of lignin. The paper sheets obtained in the practices went through an experimenting process. Studies related to the paper characteristics were accomplished in order to assess its use in the visual communication through printing techniques, silk screen, pictures and others graphical processes. The research results are able to conclude the utilization viability of this material in graphics communication.
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Fish populations are increasingly being subjected to anthropogenic changes to their sensory environments. The impact of these changes on inter- and intra-specific communication, and its evolutionary consequences, has only recently started to receive research attention. A disruption of the sensory environment is likely to impact communication, especially with respect to reproductive interactions that help to maintain species boundaries. Aquatic ecosystems around the world are being threatened by a variety of environmental stressors, causing dramatic losses of biodiversity and bringing urgency to the need to understand how fish respond to rapid environmental changes. Here, we discuss current research on different communication systems (visual, chemical, acoustic, electric) and explore the state of our knowledge of how complex systems respond to environmental stressors using fish as a model. By far the bulk of our understanding comes from research on visual communication in the context of mate selection and competition for mates, while work on other communication systems is accumulating. In particular, it is increasingly acknowledged that environmental effects on one mode of communication may trigger compensation through other modalities. The strength and direction of selection on communication traits may vary if such compensation occurs. However, we find a dearth of studies that have taken a multimodal approach to investigating the evolutionary impact of environmental change on communication in fish. Future research should focus on the interaction between different modes of communication, especially under changing environmental conditions. Further, we see an urgent need for a better understanding of the evolutionary consequences of changes in communication systems on fish diversity.
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El trabajo se propone analizar diferentes relaciones entre la universidad, la empresa privada y el Estado al momento del surgimiento del diseño industrial y de la comunicación visual, inscriptas bajo el ala del diseño como disciplina institucionalizada. Para tal fin haremos hincapié en las trayectorias de individuos y grupos que promovieron los nuevos espacios como cátedras, carreras, institutos, y departamentos en las universidades, departamentos y agencias en las empresas, e impulsaron la investigación y la formación especializada en una agencia estatal. A este respecto nos planteamos la reconstrucción y análisis de las posiciones y los tramas de relaciones sociales entre los actores, los liderazgos e ideas que confluyeron en ese marco institucionalizador. A fines de la década del ´50 se abrieron espacios en instituciones estatales ?universidades nacionales y agencias del Estado- desde los que se promovió la formación e investigación en diseño industrial y comunicación visual. Al mismo tiempo, en medio del proceso de industrialización que demandaba nuevos especialistas, las empresas privadas abrieron secciones específicas dedicadas a proyectar diseños integrales para sus productos. Para entender los sistemas de valores sobre los que se originaron estos espacios indagaremos en los documentos, artículos, libros y bienes materiales ?entre otros- que los propios actores pusieron en circulación en ese tiempo y lugar. Haremos foco en las categorías de análisis y en las definiciones por ellos dictadas en ese momento sobre el diseño. El impulso a esta nueva disciplina se abordará desde la complejidad de las trayectorias de estos agentes entendiendo la pluralidad de intereses, afinidades y razones dadas en los ámbitos público y privado. Desde esta perspectiva intentaremos dar cuenta de las historias de los individuos involucrados y de los grupos que integraron esos espacios, y su injerencia en la creación de una agencia estatal. Así podremos constatar los factores que determinaron las políticas de cambio, las prácticas y los métodos de estudio propuestos en la universidad, la empresa privada y el Estado
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El trabajo se propone analizar diferentes relaciones entre la universidad, la empresa privada y el Estado al momento del surgimiento del diseño industrial y de la comunicación visual, inscriptas bajo el ala del diseño como disciplina institucionalizada. Para tal fin haremos hincapié en las trayectorias de individuos y grupos que promovieron los nuevos espacios como cátedras, carreras, institutos, y departamentos en las universidades, departamentos y agencias en las empresas, e impulsaron la investigación y la formación especializada en una agencia estatal. A este respecto nos planteamos la reconstrucción y análisis de las posiciones y los tramas de relaciones sociales entre los actores, los liderazgos e ideas que confluyeron en ese marco institucionalizador. A fines de la década del ´50 se abrieron espacios en instituciones estatales ?universidades nacionales y agencias del Estado- desde los que se promovió la formación e investigación en diseño industrial y comunicación visual. Al mismo tiempo, en medio del proceso de industrialización que demandaba nuevos especialistas, las empresas privadas abrieron secciones específicas dedicadas a proyectar diseños integrales para sus productos. Para entender los sistemas de valores sobre los que se originaron estos espacios indagaremos en los documentos, artículos, libros y bienes materiales ?entre otros- que los propios actores pusieron en circulación en ese tiempo y lugar. Haremos foco en las categorías de análisis y en las definiciones por ellos dictadas en ese momento sobre el diseño. El impulso a esta nueva disciplina se abordará desde la complejidad de las trayectorias de estos agentes entendiendo la pluralidad de intereses, afinidades y razones dadas en los ámbitos público y privado. Desde esta perspectiva intentaremos dar cuenta de las historias de los individuos involucrados y de los grupos que integraron esos espacios, y su injerencia en la creación de una agencia estatal. Así podremos constatar los factores que determinaron las políticas de cambio, las prácticas y los métodos de estudio propuestos en la universidad, la empresa privada y el Estado
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El trabajo se propone analizar diferentes relaciones entre la universidad, la empresa privada y el Estado al momento del surgimiento del diseño industrial y de la comunicación visual, inscriptas bajo el ala del diseño como disciplina institucionalizada. Para tal fin haremos hincapié en las trayectorias de individuos y grupos que promovieron los nuevos espacios como cátedras, carreras, institutos, y departamentos en las universidades, departamentos y agencias en las empresas, e impulsaron la investigación y la formación especializada en una agencia estatal. A este respecto nos planteamos la reconstrucción y análisis de las posiciones y los tramas de relaciones sociales entre los actores, los liderazgos e ideas que confluyeron en ese marco institucionalizador. A fines de la década del ´50 se abrieron espacios en instituciones estatales ?universidades nacionales y agencias del Estado- desde los que se promovió la formación e investigación en diseño industrial y comunicación visual. Al mismo tiempo, en medio del proceso de industrialización que demandaba nuevos especialistas, las empresas privadas abrieron secciones específicas dedicadas a proyectar diseños integrales para sus productos. Para entender los sistemas de valores sobre los que se originaron estos espacios indagaremos en los documentos, artículos, libros y bienes materiales ?entre otros- que los propios actores pusieron en circulación en ese tiempo y lugar. Haremos foco en las categorías de análisis y en las definiciones por ellos dictadas en ese momento sobre el diseño. El impulso a esta nueva disciplina se abordará desde la complejidad de las trayectorias de estos agentes entendiendo la pluralidad de intereses, afinidades y razones dadas en los ámbitos público y privado. Desde esta perspectiva intentaremos dar cuenta de las historias de los individuos involucrados y de los grupos que integraron esos espacios, y su injerencia en la creación de una agencia estatal. Así podremos constatar los factores que determinaron las políticas de cambio, las prácticas y los métodos de estudio propuestos en la universidad, la empresa privada y el Estado
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To research graphic design in a globalized context it is primordial to consider cultural, social, historical and even anthropological studies to fully understand the aesthetics’ choices made by the designer’s. Being the “Japanese graphic design” a topic still to be better understand in the West, it is mandatory to gather information from primary sources. These data will be analyzed with support of secondary sources of information about Japanese visual communication, social and cultural studies. This paper presents comments about the result of a survey applied to 105 Japanese graphic designers. The survey was designed with 44 questions. The original survey, to better follow this report can be found in www.studiohobo.com/CONVERGENCIAS/Flavio_Hobo_Survey.pdf
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Relatório de Estágio apresentado à Escola Superior de Artes Aplicadas do Instituto Politécnico de Castelo Branco, em associação com a Faculdade de Arquitetura da Universidade de Lisboa, para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Design Gráfico.
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Videotelephony (real-time audio-visual communication) has been used successfully in adult palliative home care. This paper describes two attempts to complete an RCT (both of which were abandoned following difficulties with family recruitment), designed to investigate the use of videotelephony with families receiving palliative care from a tertiary paediatric oncology service in Brisbane, Australia. To investigate whether providing videotelephone-based support was acceptable to these families, a 12-month non-randomised acceptability trial was completed. Seventeen palliative care families were offered access to a videotelephone support service in addition to the 24 hours ‘on-call’ service already offered. A 92% participation rate in this study provided some reassurance that the use of videotelephones themselves was not a factor in poor RCT participation rates. The next phase of research is to investigate the integration of videotelephone-based support from the time of diagnosis, through outpatient care and support, and for palliative care rather than for palliative care in isolation
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Cipher Cities was a practice-led research project developed in 3 stages between 2005 and 2007 resulting in the creation of a unique online community, ‘Cipher Cities’, that provides simple authoring tools and processes for individuals and groups to create their own mobile events and event journals, build community profile and participate in other online community activities. Cipher Cities was created to revitalise peoples relationship to everyday places by giving them the opportunity and motivation to create and share complex digital stories in simple and engaging ways. To do so we developed new design processes and methods for both the research team and the end user to appropriate web and mobile technologies. To do so we collaborated with ethnographers, designers and ICT researchers and developers. In teams we ran a series of workshops in a wide variety of cities in Australia to refine an engagement process and to test a series of iteratively developed prototypes to refine the systems that supported community motivation and collaboration. The result of the research is 2 fold: 1. a sophisticated prototype for researchers and designers to further experiment with community engagement methodologies using existing and emerging communications technologies. 2. A ‘human dimensions matrix’. This matrix assists in the identification and modification of place based interventions in the social, technical, spatial, cultural, pedagogical conditions of any given community. This matrix has now become an essential part of a number of subsequent projects and assists design collaborators to successfully conceptualise, generate and evaluate interactive experiences. the research team employed practice-led action research methodologies that involved a collaborative effort across the fields of interaction design and social science, in particular ethnography, in order to: 1. seek, contest, refine a design methodology that would maximise the successful application of a dynamic system to create new kinds of interactions between people, places and artefacts’. 2. To design and deploy an application that intervenes in place-based and mobile technologies and offers people simple interfaces to create and share digital stories. Cipher Cities was awarded 3 separate CRC competitive grants (over $270,000 in total) to assist 3 stages of research covering the development of the Ethnographic Design Methodologies, the development of the tools, and the testing and refinement of both the engagement models and technologies. The resulting methodologies and tools are in the process of being commercialised by the Australasian CRC for Interaction Design.
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The artwork describes web as a network environment and a space where people are connected and as a result, it can reshape you as an interactive participant who is able to regenerate an object as a new form through a truly collaborative and cooperative interactions with others. The artwork has been created based on the research findings of characteristic of web: 1) Participatory (Slater 2002, p.536), 2) Communicational (Rheingold 1993), 3) Connected (Jordan 1999, 80), and 4) Stylising (Jordan 1999, 69). The artwork has conceptualised and visualised those characteristics of web based on principles of graphic design and visual communication.
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Avatars perform a complex range of inter-related functions. They not only allow us to express a digital identity, they facilitate the expression of physical motility and, through non-verbal expression, help to mediate social interaction in networked environments. When well designed, they can contribute to a sense of “presence” (a sense of being there) and a sense of “co-presence” (a sense of being there with others) in digital space. Because of this complexity, the study of avatars can be enriched by theoretical insights from a range of disciplines. This paper considers avatars from the perspectives of critical theory, visual communication, and art theory (on portraiture) to help elucidate the role of avatars as an expression of identity. It goes on to argue that identification with an avatar is also produced through their expression of motility and discusses the benefits of film theory for explaining this process. Conceding the limits of this approach, the paper draws on philosophies of body image, Human Computer Interaction (HCI) theory on embodied interaction, and fields as diverse as dance to explain the sense of identification, immersion, presence and co-presence that avatars can produce.
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Multidisciplinary learning, interdisciplinary learning and transdisciplinary learning are often used with a similar meaning, but the misunderstanding of these terms may cause a failure of defining learner needs and developing high quality learning design. In this article, the three terms are reviewed in line with learner engagement and are conceptualised according to different types and levels of interactivity. An undergraduate course, named Creative Industries: Making Connections, was designed to deliver various learning modules to over 1200 students from 11 different disciplines in a blended learning mode. A visual communication learning module in the course, in particular, challenges students as well as academic staff to experience transdisciplinary learning. A survey was conducted to evaluate students' learning experience in the visual communication learning module. The results of the survey bring up meaningful implications for the realisation of transdisciplinary learning.
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This action research examines the enhancement of visual communication within the architectural design studio through physical model making. „It is through physical model making that designers explore their conceptual ideas and develop the creation and understanding of space,‟ (Salama & Wilkinson 2007:126). This research supplements Crowther‟s findings extending the understanding of visual dialogue to include physical models. „Architecture Design 8‟ is the final core design unit at QUT in the fourth year of the Bachelor of Design Architecture. At this stage it is essential that students have the ability to communicate their ideas in a comprehensive manner, relying on a combination of skill sets including drawing, physical model making, and computer modeling. Observations within this research indicates that students did not integrate the combination of the skill sets in the design process through the first half of the semester by focusing primarily on drawing and computer modeling. The challenge was to promote deeper learning through physical model making. This research addresses one of the primary reasons for the lack of physical model making, which was the limited assessment emphasis on the physical models. The unit was modified midway through the semester to better correlate the lecture theory with studio activities by incorporating a series of model making exercises conducted during the studio time. The outcome of each exercise was assessed. Tutors were surveyed regarding the model making activities and a focus group was conducted to obtain formal feedback from students. Students and tutors recognised the added value in communicating design ideas through physical forms and model making. The studio environment was invigorated by the enhanced learning outcomes of the students who participated in the model making exercises. The conclusions of this research will guide the structure of the upcoming iteration of the fourth year design unit.