978 resultados para Process Art
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Resumen tomado de la publicaci??n
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ArtInTec es una organización creativa que ofrece servicios complementarios de apoyo pedagógico mediante instalaciones artísticas que integran arte y tecnología, unión que permite abarcar tres conceptos fundamentales: interactividad, lograda a través de herramientas tecnológicas convencionales y no convencionales; experiencias cognitivas significativas, mediante la generación de procesos de aprendizaje innovadores que permitan la construcción de saberes de trascendencia, y desarrollo de contenidos de diferentes temáticas que fortalezcan el aprendizaje. En su primera etapa, ArtInTec estará enfocada en el diseño, producción, comercialización, divulgación y venta de servicios transversales de apoyo pedagógico que impliquen la intermediación del arte y la tecnología, partiendo del concepto de instalación artística como género del arte contemporáneo que utiliza directamente el espacio de exposición como escenario para ser transitado por el espectador, logrando así una experiencia interactiva. Los tres servicios comparten características que se constituyen como columna vertebral de su naturaleza: tienen un objetivo altamente pedagógico, las temáticas son desarrolladas previo consenso entre la institución y ArtInTec, su componente artístico es el hilo conductor de la experiencia y se desarrollan en las instalaciones de la institución contratante. A continuación se enuncia cada uno de los servicios ofrecidos: a. Taller asistido por nuevas tecnologías. b. Instalación interactiva en gran formato. c. Instalación interactiva para dispositivos móviles.
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From the second half of the twentieth century, with the proposal of working active listening, exploring sounds, the experience, the search for new forms of contemporary music notation, improvisation and experimental music composition, arise music educators Paynter Schafer and Koellreutter, known by the active method of second generation who contributed greatly to the development of creative processes in the classroom. Also arises, in the same period, the encounter between art and technology, expanding opportunities through digital media, open, participatory and interactive works such as Video art, Web art, Nanoarte and Locative Art, augmented, not only against the art with the public, through connections mediated by digital interfaces, providing new learning situations attractive for the development of creativity and artistic production as challenges in contemporary.
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Dissertação de Mestrado para obtenção do grau de Mestre em Design de Moda, apresentada na Universidade de Lisboa - Faculdade de Arquitectura.
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With a steady increase of regulatory requirements for business processes, automation support of compliance management is a field garnering increasing attention in Information Systems research. Several approaches have been developed to support compliance checking of process models. One major challenge for such approaches is their ability to handle different modeling techniques and compliance rules in order to enable widespread adoption and application. Applying a structured literature search strategy, we reflect and discuss compliance-checking approaches in order to provide an insight into their generalizability and evaluation. The results imply that current approaches mainly focus on special modeling techniques and/or a restricted set of types of compliance rules. Most approaches abstain from real-world evaluation which raises the question of their practical applicability. Referring to the search results, we propose a roadmap for further research in model-based business process compliance checking.
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Mode of access: Internet.
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Mode of access: Internet.
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First published in London in 1817 under title: Apicius redivivus; or, The cook's oracle.
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In the manufacturing industry the term Process Planning (PP) is concerned with determining the sequence of individual manufacturing operations needed to produce a given part or product with a certain machine. In this technical report we propose a preliminary analysis of scientific literature on the topic of process planning for Additive Manufacturing (AM) technologies (i.e. 3D printing). We observe that the process planning for additive manufacturing processes consists of a small set of standard operations (repairing, orientation, supports, slicing and toolpath generation). We analyze each of them in order to emphasize the most critical aspects of the current pipeline as well as highlight the future challenges for this emerging manufacturing technology.
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The purpose of this study was to assess the benefits of using e-learning resources in a dental training course on Atraumatic Restorative Treatment (ART). This e-course was given in a DVD format, which presented the ART technique and philosophy. The participants were twenty-four dentists from the Brazilian public health system. Prior to receiving the DVD, the dentists answered a questionnaire regarding their personal data, previous knowledge about ART, and general interest in training courses. The dentists also participated in an assessment process consisting of a test applied before and after the course. A single researcher corrected the tests, and intraexaminer reproducibility was calculated (kappa=0.89). Paired t-tests were carried out to compare the means between the assessments, showing a significant improvement in the performance of the subjects on the test taken after the course (p<0.05). A linear regression model was used with the difference between the means as the outcome. A greater improvement on the test results was observed among female dentists (p=0.034), dentists working for a shorter period of time in the public health system (p=0.042), and dentists who used the ART technique only for urgent and/or temporary treatment (p=0.010). In conclusion, e-learning has the potential of improving the knowledge that dentists working in the public health system have about ART, especially those with less clinical experience and less knowledge about the subject.
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Some diverse indicators used to measure the innovation process are considered, They include those with art aggregate, and often national, focus, and rely on data from scientific publications, patents and R&D expenditures, etc. Others have a firm-level perspective, relying primarily on surveys or case studies. Also included are indicators derived from specialized databases, or consensual agreements reached through foresight exercises. There is an obvious need for greater integration of the various approaches to capture move effectively the richness of available data and better reflect the reality of innovation. The focus for such integration could be in the area of technology strategy, which integrates the diverse scientific, technological, and innovation activities of firms within their operating environments; improved capacity to measure it has implications for policy-makers, managers and researchers.
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In the early 21st Century, with the phenomenon of digital convergence, the consecration of Web 2.0, the decrease of the cost of cameras and video recorders, the proliferation of mobile phones, laptops and wireless technologies, we witness the arising of a new wave of media, of an informal, personal and at times “minority” nature, facilitating social networks, a culture of fans, of sharing and remix. As digital networks become fully and deeply intricate in our experience, the idea of “participation” arises as one of the most complex and controversial themes of the contemporary critical discourse, namely in what concerns contemporary art and new media art. However, the idea of “participation” as a practice or postulate traverses the 20th century art playing an essential role in its auto-critic, in questioning the concept of author, and in the dilution of the frontiers between art, “life” and society, emphasizing the process, the everyday and a community sense. As such, questioning the new media art in light of a “participatory art” (Frieling, 2008) invokes a double gaze simultaneously attentive to the emerging figures of a “participatory aesthetics” in digital arts and of the genealogy in which it is included. In fact, relating the new media art with the complex and paradoxical phenomenon of “participation” allows us to, on the one hand, avoid “digital formalism” (Lovink, 2008) and analyse the relations between digital art and contemporary social movements; on the other hand, this angle of analysis contributes to reinforce the dialogue and the links between digital art and contemporary art, questioning the alleged frontiers that separate them.
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Trabalho de Projecto submetido à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Teatro - especialização em Encenação.