Designing the Spectator Experience

Interaction is increasingly a public affair, taking place in our theatres, galleries, museums, exhibitions and on the city streets. This raises a new design challenge for HCI, questioning how a performer s interaction with a computer experienced is by spectators. We examine examples from art, performance and exhibition design, comparing them according to the extent to which they hide, partially reveal, transform, reveal or even amplify a performerts manipulations. We also examine the effects of these manipulations including movements, gestures and utterances that take place around direct input and output. This comparison reveals four broad design strategies: `secretive,' where manipulations and effects are largely hidden; `expressive,' where they are revealed, enabling the spectator to fully appreciate the performer's interaction; `magical,' where effects are revealed but the manipulations that caused them are hidden; and finally `suspenseful,' where manipulations are apparent, but effects only get revealed when the spectator takes their turn.

Covariant Spectator Theory and Hadron Structure

We present the first results of a study on meson spectroscopy using a covariant formalism based on the Covariant Spectator Theory. Our approach is derived directly in Minkowski space and it approximates the Bethe–Salpeter equation by taking effectively into account the contributions from both ladder and crossed ladder diagrams in the $q\bar{q}$ interaction kernel. A general Lorentz structure of the kernel is tested and chiral constraints on the kernel are discussed. Results for the pion form factor are also presented.

Covariant Spectator Theory of heavy–light and heavy mesons and the predictive power of covariant interaction kernels

The Covariant Spectator Theory (CST) is used to calculate the mass spectrum and vertex functions of heavy–light and heavy mesons in Minkowski space. The covariant kernel contains Lorentz scalar, pseudoscalar, and vector contributions. The numerical calculations are performed in momentum space, where special care is taken to treat the strong singularities present in the confining kernel. The observed meson spectrum is very well reproduced after fitting a small number of model parameters. Remarkably, a fit to a few pseudoscalar meson states only, which are insensitive to spin–orbit and tensor forces and do not allow to separate the spin–spin from the central interaction, leads to essentially the same model parameters as a more general fit. This demonstrates that the covariance of the chosen interaction kernel is responsible for the very accurate prediction of the spin-dependent quark–antiquark interactions.

Quark model with chiral-symmetry breaking and confinement in the Covariant Spectator Theory

We propose a model for the quark-antiquark interaction in Minkowski space using the Covariant Spectator Theory. We show that with an equal-weighted scalar-pseudoscalar structure for the confining part of our interaction kernel the axial-vector Ward-Takahashi identity is preserved and our model complies with the Adler-zero constraint for π-π-scattering imposed by chiral symmetry.

Chiral-symmetry Breaking and Pion Structure in the Covariant Spectator Theory

We introduce a covariant approach in Minkowski space for the description of quarks and mesons that exhibits both chiral-symmetry breaking and confinement. In a simple model for the interquark interaction, the quark mass function is obtained and used in the calculation of the pion form factor. We study the effects of the mass function and the different quark pole contributions on the pion form factor.

Nadar : modo de ver e viver a agua

Universidade Estadual de Campinas. Faculdade de Educação Física

A personagem desconstruida : argumentos para uma arte cenica não-logocentrica

Universidade Estadual de Campinas . Faculdade de Educação Física

Futebol e sociedade : as manifestações da torcida

Universidade Estadual de Campinas. Faculdade de Educação Física

Centrality dependence of charged hadron production in deuteron plus gold and nucleon plus gold collisions at root S(NN)=200 GeV

We present transverse momentum (p(T)) spectra of charged hadrons measured in deuteron-gold and nucleon-gold collisions at root s(NN)=200 GeV for four centrality classes. Nucleon-gold collisions were selected by tagging events in which a spectator nucleon was observed in one of two forward rapidity detectors. The spectra and yields were investigated as a function of the number of binary nucleon-nucleon collisions, nu, suffered by deuteron nucleons. A comparison of charged particle yields to those in p+p collisions show that yield per nucleon-nucleon collision saturates with nu for high momentum particles. We also present the charged hadron to neutral pion ratios as a function of p(T).

IMAGE, MAGIC AND IMAGINATION: CHALLENGES TO THE ANTHROPOLOGICAL TEXT

What different forms of engagement do image and text allow the spectator/reader? We know that text and image communicate, and that all communication depends on a relationship between those who communicate. The objective of this text is therefore to understand the new possibilities available to an anthropology of the expression of knowledge that makes use of images, such as photographs and films.

The Experience of the Religious through Silent Moving Image and the Silence of Bill Viola's Passions

With the creationof the moving image at the end of the 19th century a new way of representing and expressing the Religious was born. The cinema industry rapidly understood that film has a powerful way to attract new audiences and transformed the explicit religious message into an implicit theological discourse of the fictional film. Today, the concept of "cinema" needs to be rethought and expanded, as well as the notion of "tTranscendental" since the strong reality effect of the film can allow a true religious experience for the spectator.

Transvase : quando a ficção invade a realidade

ABSTRACT: Adopting the concept of metalepsis, as explained by Gérard Genette, I intend to tackle the miscegenation of ontological worlds as practiced in metacinematic films dealing either with the creator or the spectator and made famous with Woody Allen’s film The Purple Rose of Cairo (1985, EUA). Assuming the existence of two adjoining fictional universes, one of them intrafilmically projected onto a screen and the other positioned in front of it so as to create or observe the other, one realizes that, in fact, they both communicate in a more intense way. That is, they both can cross the barrier that separates them and function, literally, as communicating vessels thrusting themselves onto the other side of fiction. The use of this screen passage technique – which I call ‘spilling narrative’ – although it takes place inside the film, at an intradiegetic level, cannot be considered a simple comic effect. In actuality, it is a very serious affair, denoting the authorial intervention as a reflexive practice of écriture by means of a mise en abyme, according to Lucien Dällenbach. Therefore, the fictional spilling over of worlds which totally blends together both sides of the twice artificial universe of the fabula, represents the emotional and intellectual involvement of the creator with his/her creation and of the spectator with the world watched. Both illustrate the desire of fusion inherent in the acts of creation and reception. My approach will be based on Gabriele Salvatores’ Happy Family (2010) and Wojciech Marczewski’s Escape from the ‘Liberty’ Cinema (1990).

As representações da infância na publicidade televisiva

Dissertação de Mestrado, Ciências da Comunicação, 22 de Outubro de 2015, Universidade dos Açores.

Twin Peaks como alegoria daimónica cinematográfica

For a long time the allegorical activity was considered dogmatic and equated with artistic fossilization, archaic religious propensity and lack of creativity. However, Walter Benjamin (1928) and Paul De Man (1969), among other illustrious thinkers, came to its defense, exalting, instead, its cryptic, hybrid and abstract nature, which, incidentally, are the main characteristics of modern art. “Twin Peaks – Fire Walk with Me” (David Lynch, 1992) is a wonderful object of analysis, despite being one of the most misunderstood films in the history of cinema. The fact that its narrative is a prequel to the cult television series “Twin Peaks” and incorporates many of the characters of that show, explicitly denigrating the moral image of the protagonist, Laura Palmer, brought about an intense rejection by the fans of the series, as well as the indifference of the cinephilic community in general. However, one must go deeper, in order to understand Lynch’s brave accomplishment and its artfulness. Indeed, the opus is a powerful cinematic allegory because it contains a double layer of metaphorical meaning, one of them being explicitly metacinematic. Thus, besides assuming itself as a filmic daimonic allegory, occurring in a spiritual universe of Good versus Evil, the film is also an authorial discourse on cinema itself. More specifically, it is an allegory of spectatorship, according to Robert Stam’s definition, where the existence and crossing over to “another side” duplicates the architecture of movie theatres and the psychic processes involved in film viewing.

Concepção de uma aplicação móvel no âmbito da ecologia e sustentabilidade ambiental

Trabalho de projeto apresentado à Escola Superior de Comunicação Social como parte dos requisitos para obtenção de grau de mestre em Audiovisual e Multimédia.