Jun 172022
 

Gostava de ter acesso a este livro:
Live Visuals, History, Theory, Practice dos editores BySteve Gibson, Stefan Arisona, Donna Leishman, Atau Tanaka

“This volume surveys the key histories, theories and practice of artists, musicians, filmmakers, designers, architects and technologists that have worked and continue to work with visual material in real time.
Covering a wide historical period from Pythagoras’s mathematics of music and colour in ancient Greece, to Castel’s ocular harpsichord in the 18th century, to the visual music of the mid-20th century, to the liquid light shows of the 1960s and finally to the virtual reality and projection mapping of the present moment, Live Visuals is both an overarching history of real-time visuals and audio-visual art and a crucial source for understanding the various theories about audio-visual synchronization. With the inclusion of an overview of various forms of contemporary practice in Live Visuals culture – from VJing to immersive environments, architecture to design – Live Visuals also presents the key ideas of practitioners who work with the visual in a live context.
This book will appeal to a wide range of scholars, students, artists, designers and enthusiasts. It will particularly interest VJs, DJs, electronic musicians, filmmakers, interaction designers and technologists.”

do índice faz parte:
PART I THE HISTORY OF LIVE VISUALS
Chapter 1 – Inventing Instruments: Colour-Tone Correspondence to Colour-Music Performance (pre-1900) de Maura McDonnell
Chapter 2 – Moving Towards the Performed Image (Colour Organs, Synesthesia and Visual Music): Early Modernism (1900-1955) de Steve Gibson
Chapter 3 – Liquid Visuals: Late Modernism and Analogue Live Visuals (1950-1985) de Steve Gibson
Chapter 4 – Scratch Video and Rave: The Rise of the Live Visuals Performer (1985-2000) de Léon McCarthy and Steve Gibson
Chapter 5 – The Post-conceptual Digital Era (2000-present) de Paul Goodfellow and Steve Gibson

PART II THE THEORY OF LIVE VISUALS
Chapter 6 – Cross-Modal Theories of Sound and Image de Joseph Hyde
Chapter 7 – Live Visuals in Theory and Art de Paul Goodfellow
Chapter 8 – Live Visuals: Technology and Aesthetics de Léon McCarthy
Chapter 9 – AVUIs: Audio-Visual User Interfaces – Working with Users to Create Performance Technologies de Nuno N. Correia and Atau Tanaka
Chapter 10 – A Parametric Model for Audio-Visual Instrument Design, Composition and Performance de Adriana Sá and Atau Tanaka
Chapter 11 – Presence and Live Visuals Performance de Donna Leishman

PART III THE PRACTICE OF LIVE VISUALS
Chapter 12 – VJing, Live Audio-Visuals and Live Cinema de Steve Gibson and Stefan Arisona
Chapter 13 – Immersive Environments and Live Visuals de Steve Gibson
Chapter 14 – Architectural Projections: Changing the Perception of Architecture with Light de Simon Schubiger, Stefan Arisona, Lukas Treyer, and Gerhard Schmitt
Chapter 15 – Design and Live Visuals de Donna Leishman

PART IV INTERVIEWS WITH KEY PRACITIONERS–STEVE GIBSON
Chapter 16 – Interview 1 – Tony Hill, Expanded Cinema pioneer
Chapter 17 – Interview 2 – Christopher Thomas Allen, Founder & Director, The Light Surgeons
Chapter 18 – Interview 3 - Greg Hermanovic, CEO, Derivative
Chapter 19 – Interview 4 – Markus Heckmann, Technical Director, Derivative; Programmer for Carsten Nicolai and others.
Chapter 20 – Interview 5 – Peter Mettler, Digital and Live Cinema Artist

+infos(oficial): LINK

May 222022
 

Nos dias 3, 4 e 5 de novembro de 2022, a Universidade de Santiago, acolhe a Conferência da Associação Portuguesa de Sistemas de Informação, na sua 22ª edição, numa organização conjunta com o Instituto Politécnico de Santarém, o ISCTE – Instituto Universitário de Lisboa e a Universidade de Évora.
A CAPSI 2022 encontra-se (desde 2017) Indexada à SCOPUS.

O programa da 22ª CAPSI, no qual estamos a trabalhar, deverá seguir o modelo da Conferência anterior, com apresentação de comunicações, workshops e Doctoral Consortium em sessões presenciais e online.
Este ano o tema principal da Conferência é ” Sistemas de Informação – Inovação no espaço lusófono “.

Subtemas:
Transformação Digital (Impactos Sociais dos SI e o Trabalho do Futuro; Sistemas de Informação e Sustentabilidade; Blockchain, Criptomoedas e novos Modelos de Negócio; Economia Partilhada; Social Media)
Organização e Sistemas de Informação (Cibersegurança, privacidade e Ética; Gestão de Projeto; Sistemas de Informação na Saúde; Governo Eletrónico; Comportamento Humano e Marketing Digital em SI; Gestão de Processos de Negócio)
Tecnologias de Informação (Interação Pessoa-Máquina; Novas Tecnologias Digitais; Adoção e Uso de TI; Criação de Valor em TI)
Ensino e Investigação em SI (Metodologias de SI; Desenvolvimento de SI; Ciência de Dados; Currículo e Ensino de SI; Ensino Digital)

Contamos com a vossa participação, seja através da apresentação dos vossos trabalhos de investigação, seja pela participação nas diversas iniciativas que estamos a preparar no âmbito da Conferência.

A submissão de trabalhos está aberta às comunidades académica e empresarial com trabalhos de investigação e desenvolvimento relevantes no domínio dos sistemas de informação. Os documentos a submeter deverão ser escritos em português, inglês ou castelhano. Na edição de 2022, serão aceites trabalhos sob a forma de artigos, os quais serão considerados full-paper, deverão ter no máximo 6.000 palavras e respeitar o formato definido para a Conferência.

Serão ainda aceites na conferência os seguintes tipos de trabalhos:

Artigos de trabalhos em curso (reseach-in-progress paper): um artigo de trabalho em curso apresenta resultados preliminares de um trabalho de investigação em curso, devendo conter entre 2000 a 4000 palavras.
Póster: um póster apresenta investigação inicial, ideias e modelos em discussão, devendo conter apenas um resumo com 500 a 1000 palavras.

Os artigos deverão ser submetidos por via eletrónica e em formato DOC, até ao próximo dia 25 de junho de 2022. Cada artigo será revisto, no mínimo, por dois revisores em double-blind review. Os autores deverão omitir qualquer referência ao seu nome e contacto em todo o texto do artigo, incluindo a secção de referências bibliográficas.

O sucesso da Conferência depende da Todos nós, pelo que contamos Convosco para divulgarem esta chamada de trabalhos nas vossas instituições e pela vossa rede de contactos.

Mais informações sobre a 22ª CAPSI: http://capsi2022.apsi.pt/.

May 162022
 

Vai decorrer em junho, e durante seis dias, seis manhãs uma acção de formação relacionada com Structural Equation Modelling.
Do programa consta:
1. SEM Foundations and Path Analysis
2. Confirmatory Factor analysis
3. SEM with latent variable
4. Multigroup analysis and other SEM applications
5. Meet the researchers

podem ser feitas inscrições até ao dia 4 de junho com um custo de 275 euros.

+infos(oficial): LINK

May 012022
 

Encontrei o Professor Carlos Martinho a fazer uma apresentação acerca de uma investigação realizada pelo seu orientando Miguel Antunes:

da tese surge: “O mundo analógico e digital dos jogos de tabuleiro está em constante evolução, o que torna importante a recolha de informações sobre os jogadores. É fundamental compreender as diferenças que existem entre os jogadores, pois permite-nos compreender as suas motivações para jogar um jogo de tabuleiro. Caracterizámos os nossos jogadores desde traços demográficos mais gerais a aspectos relacionados com o contexto humano e o ambiente em torno do jogo. Conseguimos reunir um vasto espetro de participantes. Uma das questões para as quais procurávamos uma resposta era: Jogadores diferentes podem jogar o mesmo jogo de formas diferentes ou por razões diferentes? Para verificar se esta relação existe, utilizámos um questionário de personalidade e criámos um questionário de motivação de jogos de tabuleiro. Definimos um modelo CISSI que agrupa em componentes as dimensões das motivações para jogar jogos de tabuleiro: Desafio Intelectual; Experiência Imaginativa; Experiência Sensorial; Interação Competitiva; Desafio Social. Na nossa amostra de 229 participantes encontrámos uma pequena correlação entre a personalidade e as motivações para jogar jogos de tabuleiro. Observámos que a Extroversão e o Neuroticismo são as mais relacionadas com as dimensões das Motivações. Globalmente, é possível definir um modelo que permite caracterizar um jogador de jogo de tabuleiro com base nas suas motivações para jogar. No entanto, a sua correlação com Personalidade é um processo que necessita de cuidado, devido à fraca correlação.”

+infos(fonte): https://fenix.tecnico.ulisboa.pt/cursos/meic-t/dissertacao/846778572213469

May 012022
 

Da apresentação do livro “Code as Creative Medium: A Handbook for Computational Art and Design de Golan Levin, Tega Brain” em que:
“An essential guide for teaching and learning computational art and design: exercises, assignments, interviews, and more than 170 illustrations of creative work.
This book is an essential resource for art educators and practitioners who want to explore code as a creative medium, and serves as a guide for computer scientists transitioning from STEM to STEAM in their syllabi or practice. It provides a collection of classic creative coding prompts and assignments, accompanied by annotated examples of both classic and contemporary projects, and more than 170 illustrations of creative work, and features a set of interviews with leading educators. Picking up where standard programming guides leave off, the authors highlight alternative programming pedagogies suitable for the art- and design-oriented classroom, including teaching approaches, resources, and community support structures.”

Do índice consta:
Part One: Assignments
Iterative Pattern
Face Generator
Clock
Generative Landscape
Virtual Creature
Custom Pixel
Drawing Machine
Modular Alphabet
Data Self-Portrait
Augmented Projection
One-Button Game
Bot
Collective Memory
Experimental Chat
Browser Extension
Creative Cryptography
Voice Machine
Measuring Device
Personal Prosthetic
Parametric Object
Virtual Public Sculpture
Extrapolated Body
Synesthetic Instrument

Part Two: Exercises
Computing without a Computer
Graphic Elements
Iteration
Color
Conditional Testing
Unpredictability
Arrays
Time and Interactivity
Typography
Curves
Shapes
Geometry
Image
Visualization
Text and Language
Simulation
Machine Learning
Sound
Games

Part Three: Interviews
Teaching Programming
to Artists and Designers
The Bimodal Classroom
Encouraging a Point of View
The First Day
Favorite Assignment
When Things Go Wrong
Most Memorable Response
Advice for New Educators

Classroom Techniques

Provenance

Appendices
Authors and Contributors
Notes on Computational
Book Design
Acknowledgments

+infos(oficial): https://mitpress.mit.edu/books/code-creative-medium

May 012022
 

How to take notes for research: the slip-box method
https://www.youtube.com/watch?v=bDQn9ry22n0

Understanding note-taking – Zettelkasten
https://www.youtube.com/watch?v=-r6fnC5lVfE

e com ajuda de software:
Obsidian for Beginners: Start HERE — How to Use the Obsidian App for Notes (1/6)
https://www.youtube.com/watch?v=QgbLb6QCK88

Obsidian for Beginners: 6 Keys to Markdown (2/6) — How to Use the Obsidian App for Notes
https://www.youtube.com/watch?v=bBk2kg8Gm_U

Obsidian for Beginners: 8 Key Settings (3/6) — How to Use the Obsidian App for Notes
https://www.youtube.com/watch?v=_2z-7D4bQEA

Obsidian for Beginners: Custom Themes (4/6) — How to Use the Obsidian App for Notes
https://www.youtube.com/watch?v=Ca5ebhAYMm8

Obsidian for Beginners: 8 Important Hotkeys (5/6) — How to Use the Obsidian App for Notes
https://www.youtube.com/watch?v=cDcoBMVJsvk

Obsidian for Beginners: Just Start. Now. (6/6) — How to Use the Obsidian App for Notes
https://www.youtube.com/watch?v=bt7JPYKTrSU

Obsidian Publish (0.9.2) — The World is Your Oyster
https://www.youtube.com/watch?v=1pf6aj3Uwuk

e ainda sobre tirar notas:
Linking Your Thinking
https://www.youtube.com/channel/UC85D7ERwhke7wVqskV_DZUA/videos

How to turn your notes into published articles and books using the Obsidian app with Eleanor Konik
https://www.youtube.com/watch?v=nO5N_x2so0g

Mar 262022
 

A autora Marina Umaschi Bers lançou mais um livro acerca de crianças e pelo facto delas aprenderem a escrever código, com o titulo “Beyond Coding HOW CHILDREN LEARN HUMAN VALUES THROUGH PROGRAMMING” e que tem como conteúdo:
1 Coding, Robotics, and Values 1
2 The Coding Wars 23
3 The Rise of STEM 45
4 Coding as Another Language 63
5 From Theory to Practice 87
6 Coding Character 117
7 The Palette of Virtues 137
8 Coding Bridges 183
Further Readings 203
Resources 205

do texto de apresentação surge:
“Today, schools are introducing STEM education and robotics to children in ever-lower grades. In Beyond Coding, Marina Umaschi Bers lays out a pedagogical roadmap for teaching code that encompasses the cultivation of character along with technical knowledge and skills. Presenting code as a universal language, she shows how children discover new ways of thinking, relating, and behaving through creative coding activities. Today’s children will undoubtedly have the technical knowledge to change the world. But cultivating strength of character, socioeconomic maturity, and a moral compass alongside that knowledge, says Bers, is crucial.

Bers, a leading proponent of teaching computational thinking and coding as early as preschool and kindergarten, presents examples of children and teachers using the Scratch Jr. and Kibo robotics platforms to make explicit some of the positive values implicit in the process of learning computer science. If we are to do right by our children, our approach to coding must incorporate the elements of a moral education: the use of narrative to explore identity and values, the development of logical thinking to think critically and solve technical and ethical problems, and experiences in the community to enable personal relationships. Through learning the language of programming, says Bers, it is possible for diverse cultural and religious groups to find points of connection, put assumptions and stereotypes behind them, and work together toward a common goal.”

+infos(oficial): LINK

Feb 132022
 

Gostava de ter acesso a este artigo:
“Do Real-Time Strategy Video Gamers Have Better Attentional Control?”
Objective
Do real-time strategy (RTS) video gamers have better attentional control? To examine this issue, we tested experienced versus inexperienced RTS video gamers on multi-object tracking tasks (MOT) and dual-MOT tasks with visual or auditory secondary tasks (dMOT). We employed a street-crossing task with a visual working memory task as a secondary task in a virtual reality (VR) environment to examine any generalized attentional advantage.

Background
Similar to action video games, RTS video games require players to switch attention between multiple visual objects and views. However, whether the attentional control advantage is limited by sensory modalities or generalizes to real-life tasks remains unclear.

Method
In study 1, 25 RTS video game players (SVGP) and 25 non-video game players (NVGP) completed the MOT task and two dMOT tasks. In study 2, a different sample with 25 SVGP and 25 NVGP completed a simulated street-crossing task with the visual dual task in a VR environment.

Results
After controlling the effects of the speed-accuracy trade-off, SVGP showed better performance than NVGP in the MOT task and the visual dMOT task, but SVGP did not perform better in either the auditory dMOT task or the street-crossing task.

Conclusion
RTS video gamers had better attentional control in visual computer tasks, but not in the auditory tasks and the VR tasks. Attentional control benefits associated with RTS video game experience may be limited by sensory modalities, and may not translate to performance benefits in real-life tasks.

+infos(oficial): LINK

Feb 132022
 

Um texto interessante, e fica aqui uma cópia porque tem acesso restrito.. enfim:

“Why have students—many of whom are video-game players—so disliked the virtual learning environments of their colleges and universities? JT Torres asks and suggests some answers.
By JT Torres
December 8, 2021

The pandemic forced many of us to move into hybrid, technology-mediated teaching, and as we continue our voyage into such spaces, one thing that we in higher ed should remember is that many students have long been quite good at navigating hybrid environments. Really, it’s about time formal education finally catches up.
In his landmark 2003 book What Video Games Have to Teach Us About Learning and Literacy James Paul Gee detailed the ways video games do a better job of facilitating literacy learning than education institutions. Almost 20 years later, his analysis has become incredibly relevant. It would seem that the move toward more hybrid learning environments should have captivated a student demographic primed by video games. But instead, students—many of whom are video-game players—have often hated the virtual learning environments of their universities. Somewhat ironically, the video-game industry is experiencing a resurgence. Prophetically, Gee wrote, “The theories of learning one would infer from looking at schools today comport very poorly with the theory of learning in good video games.”
Now is the perfect time to revisit the principles of why video games are so good at teaching and learning in ways most virtual classes don’t seem to be. Below is a summary of some of those principles.
Storying content. Gee discussed meaning as being situated in specific contexts. Knowledge, in other words, only becomes meaningful in certain situations. For instance, I might know the nutritional content of eggs, but that doesn’t mean I know how to scramble them or even prepare a nutritious breakfast. In video games, the concepts and skills a player learns have specific uses in particular moments. Those situated meanings require players to recognize the patterns that indicate how to best apply their newly acquired knowledge. Typically, situated meanings are created via stories. Within those stories, players assume an identity that motivates them to make use of whatever the video game is teaching them.
Applying newly learned skills and knowledge. Video games make frequent use of interest-based interaction with knowledge, promoting self-directed mastery. Very rarely do video games ask players to passively listen to and absorb information—instead, they deliver information in usable chunks. At each stage, players practice applying their new learning, first to familiar situations and progressively to novel situations, facilitating transfer.
Providing just-in-time feedback. Players typically receive information at the time they need it. Say a player in a particular game is threatened by an oncoming storm. Right at that moment, the game teaches the player how to construct shelter. Other video games might rely on social interactions, often facilitated through popular apps like Discord or GameFAQs. This approach encourages collaboration, allowing players to actively seek information from others when they require it most.
Encouraging risk. Of course, the consequences of failing in a video game are much lower than failing an expensive college class that could perhaps even influence one’s career. The low-stakes challenges of video games empower players to try new strategies and discover novel approaches to problem solving.
Rewarding failure. When players take risks and fail, they still learn. On a metacognitive level, players realize a gap in ability or knowledge that might motivate them to persist. On a pragmatic level, they learn not only what doesn’t work but also what might work with modification, the foundation of self-regulation.
These principles remind educators that the virtual wheel does not need to be reinvented. We don’t have to be tech savants to understand what grabs students’ attention and inspires them. We don’t even have to use video games or gamify classrooms. Below are some practical translations of the above principles that can work in our classrooms right now, even without Zoom wizardry.
Frame content with culturally relevant themes. If meaning is situated in specific contexts, then one way we can engage students is to consider the stories that matter to them. We can do this by activating prior knowledge, such as personal experience, or asking students to share stories of their potential relationships with the course content. For example, an economics professor introducing the topic of monopolies might ask students to consider how they would shop for items if they wanted to boycott Amazon. Good video games invite the players to also shape the story. Zoom can encourage collaborative story shaping (i.e., learning) through hybrid or online groups. The economics professor could set the narrative stage: let’s boycott Amazon. In groups, students could design a plan for only consuming from markets not influenced by Amazon. As they realize the difficulty of effectively doing so, the professor can explicitly illustrate the principles of monopolies.
Create moments for students to use newly learned skills and knowledge. Active learning has long been a trend, but it isn’t always understood. To be clear, active learning should not replace direct instruction, which, of course, is effective. Certainly, video games have moments when the action pauses and information is directly communicated to the player. But it’s combining the two types of learning together—explicit instruction alongside opportunities for application—that create the strongest learning environments. Experience does not need to be taken literally. Fiction, a simulation of reality, can also be an experience. By broadening the concept of “experience,” virtual environments can expand notions of active learning. For instance, students might role-play imagined experiences. Simulating or role-playing experiences immerse students in the task by motivating them to learn the means to succeed at the task.
Provide brief checkpoints. Students usually have to complete an entire assignment before receiving any kind of formal feedback. If assignments are broken down into tasks, the way they are in video games’ War and Peace–length epic quests, then instructors can make quick observations of what students are doing, such as through polls. Based on what the instructor sees, they can adapt subsequent class activities. This not only helps educate the students, but it also saves time for the instructor, who then doesn’t have to provide detailed feedback on each student’s final major assignment. Assessment checkpoints can also be social, potentially enhancing student agency. Just as players flock to Discord for help, students could engage each other in some social space. These spaces can be structured—a Padlet with guidelines and examples for students—or open-ended hangouts. Peer review can both save time and be more dynamic in virtual environments.
Require reflection. When students begin to take social control over assessment, they become more reflective about their own learning. Reflection doesn’t always happen on its own, however. It must be structured as part of the experience. The low-stakes and learn-from-failure approach to video games is one way to encourage such reflection by offering multiple attempts accompanied by instructor or peer feedback. One suggestion for translating that approach to classrooms comes from the Stanford Life Design Lab. In it, students generate hypotheses about newly encountered knowledge, and then they test their hypotheses in the attempt to rethink problems and solutions.
Stay active. There are many ways to incorporate active discovery, but these strategies must again be guided by explicit instruction about how to reflect on and learn from the risks and failures. The flipped classroom is a good model for pairing explicit instruction with virtual experience. Instructors can deliver much of the direct instruction via video or the college’s LMS. Then students can spend the freed-up time in hybrid breakout groups trying to solve a relevant problem.
Technology itself cannot improve or damage learning. It’s our use of it that matters. There are indeed bad video games, and by bad, I mean games that people did not play. There are also many good ones, and what we need are good course designs so that people want to play and learn from them, too.

+infos(fonte): LINK