A importância do uso de cartuns como ferramentas auxiliares no ensino de conceitos de mecânica quântica no ensino médio

Dissertação (mestrado)—Universidade de Brasília, Instituto de Física, Programa de Pós-Graduação em Física, 2015.

O panorama do audiovisual infantil em Portugal: a problemática da surdez equacionada na concepção de filmes de animação

Dissertação apresentada à Escola Superior de Comunicação Social como parte dos requisitos para obtenção de grau de mestre em Audiovisual e Multimédia.

Welland Canal Photobook (scrapbook)

A scrapbook assembled by Alexander J. Grant, the chief Engineer of the Welland Canal starting in the year 1919. The scrapbook includes photographs, maps, invitations, dinner menus, cartoons, engineer plans and several other items.

Ann Eliza Hepburne Rooth fonds, 1837-1897

Ann Eliza Hepburne was born in Chippawa, Ontario, in 1821, to William Hepburne and Susan Shannon. In 1842, she married William Anthony Rooth in St. James Cathedral in Toronto. They continued to live in different parts of the Niagara region, including Drummondville, Welland and Port Colborne. William was the editor and proprietor of the Drummondville Reporter, as well as an accountant and insurance agent, and later worked for the Customs Service in Port Colborne. He died in 1878, and Eliza in 1899. Both are buried in Drummond Hill Cemetery in Niagara Falls, Ontario.

Nouveaux explorateurs : les bédéistes et leurs récits de voyage dans Shenzhen de Guy Delisle et Missionnaire de Joann Sfar

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Le cinéma d'animation : avènement d'une institution et naissance d'une industrie

Les premiers comptes rendus de l’histoire du cinéma ont souvent considéré les premiers dessins animés, ou vues de dessins animés, comme des productions différentes des films en prise de vue réelle. Les dessins animés tirent en effet leurs sources d’inspiration d’une gamme relativement différente d’influences, dont les plus importantes sont la lanterne magique, les jouets optiques, la féérie, les récits en images et les comics. Le dessin animé n’en demeure pas moins fondamentalement cinématographique. Les vues de dessins animés de la décennie 1900 ne se distinguent ainsi guère des scènes à trucs sur le plan de la technique et du style. D’abord le fait de pionniers issus de l’illustration comique et du croquis vivant comme Émile Cohl, James Stuart Blackton et Winsor McCay, le dessin animé s’industrialise au cours de la décennie 1910 sous l’impulsion de créateurs venant du monde des comics, dont John Randolph Bray, Earl Hurd, Paul Terry et Max Fleisher. Le processus d’institutionnalisation par lequel le dessin animé en viendra à être considéré comme une catégorie de film à part entière dépend en grande partie de cette industrialisation. Les studios de dessins animés développent des techniques et pratiques managériales spécifiquement dédiées à la production à grande échelle de films d’animation. Le dessin animé se crée ainsi sa propre niche au sein d’une industrie cinématographique dont il dépend toutefois toujours entièrement. Ce phénomène d’individuation repose sur des formules narratives et des personnages récurrents conçus à partir de modèles issus des comics des années 1910.

Apprentissage dans une communauté de pratique : fansubbing et compétence linguistique

Fansub consiste à traduire et à sous-titrer les produits médiatiques étrangers tels que des films, des feuilletons ou des animes par des internautes bénévoles. Ce phénomène est aujourd’hui très répandu en Chine. Les amateurs s’organisent en groupes de fansub pour accomplir ce travail en collaboration. Les groupes de fansub se caractérisent par la virtualisation du lieu de travail, l’hétérogénéité des membres, la liberté de participation, la collaboration et la non-commercialité. Leur processus de travail et organisation est aussi particulier. Dans ce mémoire, je me suis intéressée à l’apprentissage des fansubbers, un aspect peu étudié dans la littérature sur le fansub. Le fansub a été abordé sous l’angle d’une communauté de pratiques pour comprendre comment les fansubbers acquièrent de nouvelles connaissances et améliorent leur compétence linguistique en sous-titrant les films de langue étrangère. L’étude est basée sur l’observation participative dans un groupe de fansub chinois-français, Fansub Yueyue. J’ai fait de l’observation participante auprès de ce groupe de fansub pour recueillir des traces du travail et des interactions entre les membres. Dix fansubbers du groupe ont aussi été interrogés. Les analyses ont indiqué que le groupe de fansub démontre les trois caractéristiques essentielles d’une communauté de pratique : l’entreprise commune, l’engagement mutuel et un répertoire partagé. Cet ensemble favorise l’existence du groupe ainsi que l’apprentissage des membres. Aussi, par l’analyse des erreurs fréquentes des fansubbers et leur autoévaluation, nous concluons que les pratiques de fansub aident les membres à améliorer leur compétence linguistique. L’apprentissage a lieu pendant le processus de travail de sous-titrage ainsi qu’à travers les interactions entre les membres ou avec des personnes hors de ce groupe.

El imaginario de la crisis: caricatura económica en Colombia en época de la gran depresión

ABSTRACT In this paper we use economic cartoons that were published in the leading Colombian newspaper -El Tiempo-between 1928 and 1937,as a valid primary source for analysis of the tensionsand economic situations lived in Colombia during a tough worldwide economic period. Through economic cartoon it is possible to observe the perception of public opinion on economic policies and the fear and uncertainty that these were having on ordinary people. This document is part of a larger analysis that used economic cartoons as a source for examining Colombian economic history.

Caricatura económica en Colombia 1880-2008: la economía con algo de humor

La idea central de este libro gira en torno al uso de la caricatura como una fuente histórica para el análisis económico, además es el legado gráfico de los eventos económicos que a lo largo de más de cien años han sido objeto de atención de caricaturistas y lectores de prensa. Dos motivaciones inspiraron este trabajo: de un lado, el estupendo resultado de utilizar la caricatura económica como fuente de análisis e indagación para el curso de Historia Económica de Colombia en la Universidad del Rosario; y de otro lado, la confirmación de que muchos momentos de la historia económica han sido plasmados por los caricaturistas. Ambos motivos son convincentes respecto a la validez de la caricatura como fuente para el análisis de temas económicos, tanto desde una perspectiva histórica como desde una perspectiva netamente económica.

Reading hybrid texts : remarks on text/image transitions

The reading of printed materials implies the visual processing of information originated in two distinct semiotic systems. The rapid identification of redundancy, complementation or contradiction rhetoric strategies between the two information types may be crucial for an adequate interpretation of bimodal materials. Hybrid texts (verbal and visual) are particular instances of bimodal materials, where the redundant information is often neglected while the complementary and the contradictory ones are essential.Studies using the 504 ASL eye-tracking system while reading either additive or exhibiting captions (Baptista, 2009) revealed fixations on the verbal material and transitions between the written and the pictorial in a much higher number and duration than the initially foreseen as necessary to read the verbal text. We therefore hypothesized that confirmation strategies of the written information are taking place, by using information available in the other semiotic system.Such eye-gaze patterns obtained from denotative texts and pictures seem to contradict some of the scarce existing data on visual processing of texts and images, namely cartoons (Carroll, Young and Guertain, 1992), descriptive captions (Hegarty, 1992 a and b), and advertising images with descriptive and explanatory texts (cf. Rayner and Rotello, 2001, who refer to a previous reading of the whole text before looking at the image, or even Rayner, Miller and Rotello, 2008 who refer to an earlier and longer look at the picture) and seem to consolidate findings of Radach et al. (2003) on systematic transitions between text and image.By framing interest areas in the printed pictorial material of non redundant hybrid texts, we have identified the specific areas where transitions take place after fixations in the verbal text. The way those transitions are processed brings a new interest to further research.

Investigating a robot as a therapy partner for children with autism

The aurora project is investigating the possibility of using a robotic platform as a therapy aid for--children with autism. Because of the nature of this disability, the robot could be beneficial in its ability--to present the children with a safe and comfortable environment and allow them to explore and learn--about the interaction space involved in social situations. The robotic platform is able to present--information along a limited number of channels and in a manner which the children are familiar with--from television and cartoons. Also, the robot is potentially able to adapt its behaviour and to allow the--children to develop at their own rates. Initial trial results are presented and discussed, along with the--rationale behind the project and its goals and motivations. The trial procedure and methodology are--explained and future work is highlighted.

Poetry and public speech: three traces

Poetry is routinely seen as ‘marginal’ to public culture, especially in terms of it having lost its status as a form of public speech. Such a condition is often noted in nostalgic terms, in which a golden era—bardic or journalistic—is evoked to illustrate contemporary poetry’s lack. But traces of poetry’s instrumentality, especially as a form of public speech, can be found in various extra-poetic contexts.

In this article, three examples of poetry operating in ‘extra-poetic contexts’ will illustrate the different, sometimes troubling, ways in which traces of poetry as a mode of public speech can be observed in contemporary culture: the poem-cartoons of Michael Leunig; the role of the poet Les Murray in the drafting of a proposed preamble to the Constitution of Australia; and the quotation of William Ernest Henley’s ‘Invictus’ as the final statement of Timothy McVeigh (the ‘Ohio Bomber’) prior to his execution.

These examples illustrate that poetry-as-public-speech engages with political discourse in diverse, incommensurate ways. Leunig’s occasional cartoon-poems, appearing in the metropolitan press, are examples of poetry at its most public and politically engaged state. And yet, even Leunig’s most ‘political’ work gestures towards a realm beyond politics, where the poetic, the comic, and the existential coexist as a way of making life in the political realm more bearable. Les Murray’s role as a ‘national’ poet in the failed attempt to introduce a preamble to the Australian Constitution illustrates the vestigial role that poets can play in nation building. Lastly, McVeigh’s quotation of Henley, made without any explanation, shows the unpredictable and potentially volatile condition of poetry-as-public-speech. In addition, the examples variously engage in arguments about the relationship between the individual and the state, private identity and national history.

Automatic genre identification for content-based video categorization

This paper presents a set of computational features originating from our study of editing effects, motion, and color used in videos, for the task of automatic video categorization. These features besides representing human understanding of typical attributes of different video genres, are also inspired by the techniques and rules used by many directors to endow specific characteristics to a genre-program which lead to certain emotional impact on viewers. We propose new features whilst also employing traditionally used ones for classification. This research, goes beyond the existing work with a systematic analysis of trends exhibited by each of our features in genres such as cartoons, commercials, music, news, and sports, and it enables an understanding of the similarities, dissimilarities, and also likely confusion between genres. Classification results from our experiments on several hours of video establish the usefulness of this feature set. We also explore the issue of video clip duration required to achieve reliable genre identification and demonstrate its impact on classification accuracy.

Video genre categorization using audio wavelet coefficients

In this paper, we investigate the use of a wavelet transform-based analysis of audio tracks accompanying videos for the problem of automatic program genre detection. We compare the classification performance based on wavelet-based audio features to that using conventional features derived from Fourier and time analysis for the task of discriminating TV programs such as news, commercials, music shows, concerts, motor racing games, and animated cartoons. Three different classifiers namely the Decision Trees, SVMs, and k-Nearest Neighbours are studied to analyse the reliability of the performance of our wavelet features based approach. Further, we investigate the issue of an appropriate duration of an audio clip to be analyzed for this automatic genre determination. Our experimental results show that features derived from the wavelet transform of the audio signal can very well separate the six video genres studied. It is also found that there is no significant difference in performance with varying audio clip durations across the classifiers.