An Artificial Intelligence Approach to Dyscalculia

Dyscalculia stands for a brain-based condition that makes it hard to make sense of numbers and mathematical concepts. Some adolescents with dyscalculia cannot grasp basic number concepts. They work hard to learn and memorize basic number facts. They may know what to do in mathematical classes but do not understand why they are doing it. In other words, they miss the logic behind it. However, it may be worked out in order to decrease its degree of severity. For example, disMAT, an app developed for android may help children to apply mathematical concepts, without much effort, that is turning in itself, a promising tool to dyscalculia treatment. Thus, this work focuses on the development of an Intelligent System to estimate children evidences of dyscalculia, based on data obtained on-the-fly with disMAT. The computational framework is built on top of a Logic Programming framework to Knowledge Representation and Reasoning, complemented with a Case-Based problem solving approach to computing, that allows for the handling of incomplete, unknown, or even contradictory information.

Por baixo da pele outra pele: conjunto de obras artísticas. Corpo, ecrã e interface para uma visualidade háptica interativa

A tese teórico-prática de doutoramento apresentada contempla a investigação, a criação, a produção e a conceptualização da instalação artística interativa intitulada Por baixo da pele outra pele. A Obra é constituída por três objetos tridimensionais concebidos à escala humana. Recorre a materiais flexíveis, como têxteis, convidando o público (interator), à envolvência física, numa relação corporal sensorial e sensual com a obra. Os objetos contêm dispositivos técnicos interativos e sensores tácteis, que, ao serem utilizados, desencadeiam estímulos multissensoriais no espectador. A instalação interativa focaliza a experiência háptica e íntima do interator considerando os seus mecanismos sensoriais e cognitivos como um potencial aparato na construção de experiências fenomenológicas, singulares e individuais. A autora considera a interatividade enquanto elemento potenciador da experiência estética visual háptica. Na argumentação conceitual da obra, reflete-se sobre o tema da visualidade háptica interativa a partirdos conceitos de ecrã, corpo e interface, assim como de endossensorialidade. Instrumentam-se metodologias de investigação em ação, experimentais e observacionais. Apresentam-se os processos investigativos, criativos e técnicos necessários ao desenvolvimento e à materialização da instalação artística. A investigação revela-se de grande interesse para o avanço da pesquisa de novas linguagens experimentais apresentando estratégias de criação artística que, ao privilegiarem o corpo físico e fenomenológico do interator, transpõe a experiência háptica interativa para um grau interno de imersão motoro-sensorial; Underneath the skin another skin: art installation. Body, screen and interface towards an interactive haptic visuality. Abstract: The theoretical-practical doctorate dissertation presents the research and conceptual framework behind, and the processes leading to, the creation and production of the interactive installation art piece Underneath the skin, another skin. The piece is presented in the shape of three human-scale tridimentional objects. It is made from flexible materials, such as textiles, inviting the (interacting) audience, to physically engage in a bodily sensorial, and sensuous, relationship with the artwork. The objects enclose interactive devices and tactile sensors that, when used, trigger in the interactor multiple sensorial stimuli. The interactive installation focuses on the interactor's intimate haptic experience taking in consideration his or hers sensorial and cognitive mechanisms as a potential apparatus in the construction of unique individual phenomenological experiences. The author understands interactivity as a triggering element into an haptic visual aesthetical experience. The supporting conceptual reasoning deals with thought and criticism on interactive haptic visuality applied to the concepts of screen, body and interface, as well as with that of endo-sensoriality. The dissertation describes the use of experimental and observation research methodologies. It also elaborates on the research, creative and technical processes at play in the installation's development and realization. The research at hand has shown great potential for the further development of new experimental languages, as it presents art-creation strategies privileging the interactor's physical and phenomenological body, and thus able to take the interactive haptic experience onto an greater inner level of motor-sensorial immersion.

‘Crows’ vs. ‘Avatar’, or: 3D vs. total-dimensional immersion

3D film’s explicit new space depth arguably provides both an enhanced realistic quality to the image and a wealth of more acute visual and haptic sensations (a ‘montage of attractions’) to the increasingly involved spectator. But David Cronenberg’s related ironic remark that ‘cinema as such is from the outset a «special effect»’ should warn us against the geometrical naiveté of such assumptions, within a Cartesian ocularcentric tradition for long overcome by Merleau-Ponty’s embodiment of perception and Deleuze’s notion of the self-consistency of the artistic sensation and space. Indeed, ‘2D’ traditional cinema already provides the accomplished «fourth wall effect», enclosing the beholder behind his back within a space that no longer belongs to the screen (nor to ‘reality’) as such, and therefore is no longer ‘illusorily’ two-dimensional. This kind of totally absorbing, ‘dream-like’ space, metaphorical for both painting and cinema, is illustrated by the episode ‘Crows’ in Kurosawa’s Dreams. Such a space requires the actual effacement of the empirical status of spectator, screen and film as separate dimensions, and it is precisely the 3D caracteristic unfolding of merely frontal space layers (and film events) out of the screen towards us (and sometimes above the heads of the spectators before us) that reinstalls at the core of the film-viewing phenomenon a regressive struggle with reality and with different degrees of realism, originally overcome by film since the Lumière’s Arrival of a Train at Ciotat seminal demonstration. Through an analysis of crucial aspects in Avatar and the recent Cave of Forgotten Dreams, both dealing with historical and ontological deepening processes of ‘going inside’, we shall try to show how the formal and technically advanced component of those 3D-depth films impairs, on the contrary, their apparent conceptual purpose on the level of contents, and we will assume, drawing on Merleau-Ponty and Deleuze, that this technological mistake is due to a lack of recognition of the nature of perception and sensation in relation to space and human experience.

LA GEOGRAFÍA Y SUS ACTUALES DESAFÍOS TEÓRICOS Y METODOLÓGICOS

El mundo de hoy conoce transformaciones no imaginadas hace 30 o 40 años atrás y en ellos, los avances técnicos han jugado un rol primordial. Estos cambios también se hacen presentes en el espacio geográfico aun cuando, en muchas ocasiones, no se manifiesten de manera visible. El interés por aproximarnos a la historia del presente se asocia con el hecho de que ella nos da luces para orientar la tarea, nada fácil, de intentar la comprensión de lo nuevo y de cómo se territorializa. Es por ello que con este trabajo, además de ocuparnos, de manera muy sucinta, con los elementos que identifican lo nuevo de nuestro tiempo, se hace una rápida retrospectiva del cómo la ciencia geográfica ha aprehendido a su objeto de estudio: el espacio geográfico, por cuanto se parte de la base de que cada época tiene un sistema de conceptos que la identifican, por lo que éstos deben ser revisados si estamos afirmando que estamos vivenciando un nuevo momento en la historia del hombre. Palabras  clave: Geografía,  técnica,  cambios  recientes,  organización  del  espacio,  transformaciones espaciales, espacio geográfico.AbstractThe world of today knows transformations not imaginable 30 or 40 years ago, and technical advances have played a fundamental role. These changes also are happening in the present in the geographical space even when, in many occasions, they donʼt manifest themselves in a visible way. The interest in knowing the history of the present is the fact that it gives light to orient the task, nothing easy, of trying to understand the new thing and how itʼs represented in the space.Itʼs for that that this work, besides occupying us, in a very succinct way, with the elements that identify the new thing of our time, a fast retrospective is made of how the science of geography has grasp its object of study: the geographical space, in as much as it starts from the base that each period has a system of concepts that identify it, for which these should be revised if we are affirming that we are experiencing a new moment in the history of the man. Key Words: Geography, technique, recent changes, organization of space, special transformations, geographic space.