12 resultados para Impressio-expressio
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El presente trabajo muestra la analogía bonaventuriana en términos de distancia y espejo, señalando las instancias argumentativas a través de las cuales se llega al concepto de naturaleza entendido como expresión de Dios. Pero además, esta similitudo, a diferencia de la imagen, es cualidad pura común a todos los seres, y designa un modo eminente de participación en la perfección divina, que se imprime en un despliegue trinitario ad intra (Logos) a la vez que se expresa en la creación ad extra. Estos momentos metafísicos de impressio-expressio conforman la propia realidad divina y la posibilidad de acceso a ella por parte de la naturaleza participada. En la Distinción 25 de su Comentario a las Sentencias de Pedro Lombardo, Buenaventura hará uso de un concepto de analogía propio para explicar la relación entre Persona-divina y persona-creatura, en un ámbito ante todo metafísico que sobrepasa los aspectos preteológico y cosmológico. Por ello, además de permitirnos esclarecer la diferencia entre naturaleza y persona-creatura, la importancia de esta analogía planteada por Buenaventura radica en que proporciona una respuesta particular a la oposición naturaleza-Dios, en la que la diferencia no significa exclusión, sino, maravillosa concordia y harmonía".
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Digitoitu 11. 8. 2008.
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A far data dalla pubblicazione di un importante ed illustre contributo scientifico (GIORGIANNI, voce Causa (dir. priv.), in Enc. dir., VI, Milano, 1960), e dalla proposta, in esso contenuta, di restituire spazio a fattispecie attributive di diritti giustificate, sotto il profilo causale, dal solo riferimento espresso al rapporto fondamentale che ne costituisca fondamento (le c.d.
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Cover-title.
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Evaluating other individuals with respect to personality characteristics plays a crucial role in human relations and it is the focus of attention for research in diverse fields such as psychology and interactive computer systems. In psychology, face perception has been recognized as a key component of this evaluation system. Multiple studies suggest that observers use face information to infer personality characteristics. Interactive computer systems are trying to take advantage of these findings and apply them to increase the natural aspect of interaction and to improve the performance of interactive computer systems. Here, we experimentally test whether the automatic prediction of facial trait judgments (e.g. dominance) can be made by using the full appearance information of the face and whether a reduced representation of its structure is sufficient. We evaluate two separate approaches: a holistic representation model using the facial appearance information and a structural model constructed from the relations among facial salient points. State of the art machine learning methods are applied to a) derive a facial trait judgment model from training data and b) predict a facial trait value for any face. Furthermore, we address the issue of whether there are specific structural relations among facial points that predict perception of facial traits. Experimental results over a set of labeled data (9 different trait evaluations) and classification rules (4 rules) suggest that a) prediction of perception of facial traits is learnable by both holistic and structural approaches; b) the most reliable prediction of facial trait judgments is obtained by certain type of holistic descriptions of the face appearance; and c) for some traits such as attractiveness and extroversion, there are relationships between specific structural features and social perceptions.
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Imaginem que veiem una instantània de la cara de dos polítics, caps dels seus respectius grups parlamentaris, just després d'una votació decisiva en què han defensat postures contraposades, però no sabem quina de les dues alternatives ha estat l'escollida per la majoria del Parlament. Ho podríem deduir pels seus rostres?
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This paper presents the use of our multimodal mixed reality telecommunication system to support remote acting rehearsal. The rehearsals involved two actors, located in London and Barcelona, and a director in another location in London. This triadic audiovisual telecommunication was performed in a spatial and multimodal collaborative mixed reality environment based on the 'destination-visitor' paradigm, which we define and put into use. We detail our heterogeneous system architecture, which spans the three distributed and technologically asymmetric sites, and features a range of capture, display, and transmission technologies. The actors' and director's experience of rehearsing a scene via the system are then discussed, exploring successes and failures of this heterogeneous form of telecollaboration. Overall, the common spatial frame of reference presented by the system to all parties was highly conducive to theatrical acting and directing, allowing blocking, gross gesture, and unambiguous instruction to be issued. The relative inexpressivity of the actors' embodiments was identified as the central limitation of the telecommunication, meaning that moments relying on performing and reacting to consequential facial expression and subtle gesture were less successful.
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This paper presents the use of our multimodal mixed reality telecommunication system to support remote acting rehearsal. The rehearsals involved two actors, located in London and Barcelona, and a director in another location in London. This triadic audiovisual telecommunication was performed in a spatial and multimodal collaborative mixed reality environment based on the 'destination-visitor' paradigm, which we define and put into use. We detail our heterogeneous system architecture, which spans the three distributed and technologically asymmetric sites, and features a range of capture, display, and transmission technologies. The actors' and director's experience of rehearsing a scene via the system are then discussed, exploring successes and failures of this heterogeneous form of telecollaboration. Overall, the common spatial frame of reference presented by the system to all parties was highly conducive to theatrical acting and directing, allowing blocking, gross gesture, and unambiguous instruction to be issued. The relative inexpressivity of the actors' embodiments was identified as the central limitation of the telecommunication, meaning that moments relying on performing and reacting to consequential facial expression and subtle gesture were less successful.
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This paper presents the quantitative and qualitative findings from an experiment designed to evaluate a developing model of affective postures for full-body virtual characters in immersive virtual environments (IVEs). Forty-nine participants were each requested to explore a virtual environment by asking two virtual characters for instructions. The participants used a CAVE-like system to explore the environment. Participant responses and their impression of the virtual characters were evaluated through a wide variety of both quantitative and qualitative methods. Combining a controlled experimental approach with various data-collection methods provided a number of advantages such as providing a reason to the quantitative results. The quantitative results indicate that posture plays an important role in the communication of affect by virtual characters. The qualitative findings indicated that participants attribute a variety of psychological states to the behavioral cues displayed by virtual characters. In addition, participants tended to interpret the social context portrayed by the virtual characters in a holistic manner. This suggests that one aspect of the virtual scene colors the perception of the whole social context portrayed by the virtual characters. We conclude by discussing the importance of designing holistically congruent virtual characters especially in immersive settings.
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Research on face recognition and social judgment usually addresses the manipulation of facial features (eyes, nose, mouth, etc.). Using a procedure based on a Stroop-like task, Montepare and Opeyo (J Nonverbal Behav 26(1):43-59, 2002) established a hierarchy of the relative salience of cues based on facial attributes when differentiating faces. Using the same perceptual interference task, we established a hierarchy of facial features. Twenty-three participants (13 men and 10 women) volunteered for the experiment to compare pairs of frontal faces. The participants had to judge if the eyes, nose, mouth and chin in the pair of images were the same or different. The factors manipulated were the target-distractive factor (4 face components 9 3 distractive factors), interference (absent vs. present) and correct answer (the same vs. different). The analysis of reaction times and errors showed that the eyes and mouth were processed before the chin and nose, thus highlighting the critical importance of the eyes and mouth, as shown by previous research.
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[Vol. 3] editio altera recognita et emendata.
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La existencia de unidades fraseológicas (UF) supone un enriquecimiento en el seno de cada lengua. De cara a la traducción, sin embargo, las UF suelen plantear dificultades tanto en la fase de comprensión como en la de reescritura, a la hora de buscar equivalentes adecuados. En el caso de la combinación lingüística francés-español, la cercanía entre ambas lenguas facilita, en ocasiones, la comprensión, pero, a su vez, propicia fenómenos como los falsos amigos en el proceso traslativo. El objetivo de este trabajo es presentar parte de un amplio estudio realizado a partir de la clasificación y el análisis de expresiones francesas que contienen el término coup y su traducción al español. Para ello, justificaremos la elección del tema y expondremos la metodología llevada a cabo; definiremos qué es una unidad fraseológica y qué tipos existen; ilustraremos con ejemplos parte de nuestro estudio, la relativa a las locuciones nominales; y esbozaremos las conclusiones más sobresalientes.