bluuebunny/crossref_metadata_2025 huggingface dataset:
An Interactive and Digital Puppeteering Interface for new musical expression (IDPI)
Authors: Mukai Hibiki
Published: January 2022

Puppetry is the oldest form of the virtual reality and has a strong tradition as a theatrical art. The aim of this research project is to create digital puppeteering system which translates gestural acts into live and expressive control of virtual 3D models including in real-time 3D sound. I will devise a model of practice that extends our understanding and notion of the digital puppet. It seeks to establish new practical and conceptual relations between the puppet and new technologies in the framework of puppet theatre. The practical aim is to focus on the special spirit of animated 3D models and silhouettes and to contribute to cultural preservation and fixing of the tradition(s) of puppet theatre. This project will explore the potential of puppetry as a musical expressive medium by new media, including the sensor, 3D sound system, digital projection, and 3D simulation. The conceptual aim of the project is to integrate traditional and new forms of puppetry through different interfaces that will advance traditional forms of cultural expressions. This project focuses on analogies and differences between different puppet theatre traditions. A key aspect is the relationship between the Western puppetry and the Eastern puppetry traditions, and the impact of the resulting cross- cultural dialogue in dramatic performances with figures. In seeking to identify the potential effects of digital puppetry, I will obtain a new vocabulary for gestural musical performance and can develop guidelines that can be used for future creative theatrical practice in the field of digital puppetry. The aim of my research project is to design an interactive digital puppetry system which is sensitive to gestural acts of puppeteers and enriches the performances as a musical expressive medium on its own right. Such a system will serve creative possibilities using digitalisations of old forms by puppet restoration and preserving its instructions. Through analyses of European and Japanese traditional puppet theatres, I will achieve a new cross-cultural form of puppetry. Thus, I investigate how acts and music of puppetry can be restored from not only actual traditional. puppet theatre, but also archives and documents, then performed and remediated with digital performance technology. Furthermore, my investigation includes in transitioning layers between old and new media — objects of puppet theatre and digital simulation – alternative action and transformation. I believe that the digital re-presentation of traditional puppetry is one of the most efficient and effective ways to impart to later generations and also to revitalise the arts of puppet theatres. An orientation toward new medias will enable me to explore 'tradition' and the puppet as a technological media object. Through my digital practice and an encounter with old, lost, forgotten puppet theatre, I set out to create something new.
Realities Research Group: 10 years of studies in art-technology
Authors: Laurentiz Silvia
Published: January 2022

The Research Group Realidades - from tangible realities to ontological realities - was created in 2010 and is based at the School of Communications and Arts, University of São Paulo, accredited by the Institution and CNPq, Brazil. It already has a huge production, from artistic works, texts, interviews, events organization, and other technical productions, which can be found at http://www2.eca.usp.br/realidades. In its initial research, the Realidades Group investigated how to coherently treat certain terms and categories while maintaining a dialogue between different areas of knowledge, in addition to pointing out counterparts from the breaking of certain conceptual coherences promoted by this dialogue. The object of study of the first projects was precisely to know and expand terms such as simulation, virtuality, hybridization, as well as to propose new devices, interfaces and uses for the technologies. In the current proposal, the group inaugurates new lines of research that will address contemporary phenomena in the field of digital media, critically observing the experience in the intersection between arts, sciences and communications in locative media, audiovisual performances, reality augmented, 360º video and photography, artificial intelligence, three-dimensional modeling, and digital prototyping, among others. It also considers broader issues that arise in this context in relation to the ways of weakening the consensus around the alternatives of representing reality, which happen because of the informational explosion, and the mapping of patterns, in addition to observing political aspects of these discussions. To fulfill these objectives, which significantly expand the initial problems, we redesigned our lines of research in 2020, which are now defined as: 1. Codified Thoughts; 2. Audiovisual Processes; and 3. Poetic-political criticism. The lines of research present specific goals, objectives, and results, which add up without failing to meet the general objectives of the group. It is important to say that the group has a diversified production, but it is evident that the artistic works stand out. In our artworks, the intrinsic relationship between theory and creative practices is essential. We can see the result of these practices and creative processes in the works we carry out and which have already been shown in national and international exhibitions. All information about each one can be found on the group's website. They have started with the Enigmas Series, which was developed between 2012 and 2017.This series has 3 productions and some versions. We also have the series “When the Stars Touch”, with two works, one created in 2019 and the other in 2020. In 2017 we produced the installation Dynamic Crossing, which participated in ISEA 2017 - 23rd International Symposium on Electronic Art, in Manizales, Colombia. The group's most recent artwork is "InMemoriam". It is still online and can be accessed on its website.
The Colophon: Where moving parts come together
Authors: Meyle Lucy , O'Hara Emily , Redmond Monique
Published: January 2022

This proposal considers the colophon as a conceptual structure for thinking through lists and listing within our creative practice(s). Conventionally, the colophon is a short piece of text that details information about the making of a publication or its intended use. Most often, the colophon specifies the how, where, and when: the typeface and paper stock; the location, date, edition number, and method of printing. It can also foreground the relational aspects of publishing – the with who or the why here. Colophons appear at the opening or the closing of a publication, and the information within them can form a kind of ballast to what precedes or succeeds them. That is, the listing of the material, processual, and relational labour that went into the making of publications is called forward in the colophon and acknowledged as structural necessity. Often, we are led to ask, how is this conception of the colophon useful in thinking about the other types of lists and listings that make their way into our collective practices? —Runsheets, Material lists, Contents, Title lists, Indexes, Captions, Legends, Rosters, Glossaries, Registers, Manifests, Chronologies— These modes of listing communicate relevant and important contexts and, in that way, become a conceptual part of creative works themselves. As formats, they are all also citational practices where the materials, processes, information, and relations are shared freely – as any written text would be in a publication’s reference list. In their book, The Hundreds (2019), cultural theorists Lauren Berlant and Kathleen Stewart list Adorno and Agamben texts next to “An egg-cooking machine” and “A few pansies stuck in a window box” in the reference section, all alphabetised under the title “Some Things We Thought With”1. This type of list (and the concept of a colophon itself) is not an indiscriminate breaking-down into separate parts but a strategic highlighting of the conditions and abstractions of the artwork. The colophon as a structure in this context exists not only to acknowledge what contributes to a publication but also to trace possible points of departure from convention. As a tactic within creative practice, the colophon is like a conceptual abstraction; it holds all of the constituent parts that make up a project in one place. The ‘—with’ that Berlant and Stewart explore is key to the how, where, and when of relations that the doing of listing brings together. As artists working in the inter-related fields of socially engaged art, object-making, installation, and publication, our list of interests include the moon, the water, the sky; flowers, ceramics, printed matter; ducks, snails, butter. This paper will share our three perspectives on listing as a synchronous tactic with the functioning action of a colophon. Where words and images get to turn, twist, veer, bow, dip, and nod, and the conceptual form of a project takes shape with things.
Creating a Shapes Shifting System
Authors: Seda Daniel
Published: January 2022

My research focuses on the creation of shapes capable of changing partially or completely their own configuration. Modular structures are specially suited for this purpose because individual modules can be connected with each other in a variety of ways. After noticing a similarity between the origami technique and certain automatic shape-shifting structures, my research efforts shifted from modular origami to the field of digital manufacturing, specifically 3D modeling and printing. The research methodology and design were developed based on free software, open source production systems, GPL and Creative Commons licenses: Linux, Blender software and 3D printing using open hardware systems such as Arduino.The conceptual and philosophical literature that has informed this research is diverse. Faced with such a diversity of sources, I realized that many of them, if not all, have influenced an intense research process, and that it was no longer possible to define a single research axis. Working and thinking within the territory of creation and the field of Art, based on Spinoza's concept of immanence, the rhizomatic approach of Deleuze and Guattari and also on Simondon’s technical objects and metastability, I started to incorporate into my research and dialogue with an immense repertoire of physical possibilities derived from a theoretical framework that pointed precisely to the uncertain and indistinct realm where forms themselves originate.Exploring both an open source approach and a truly rhizomatic approach, in which every element of a system is interconnected, and addressing the contemporary issues of programmable matter and cybermatics, but also strongly influenced by modular structures and biochemical mechanisms of connection and disconnection, the research has produced quite satisfactory results. I have developed a modular system in which individual pieces not only can fit together in various ways but also maintain a certain freedom of movement, allowing them to change their shape. This modular system was a result of an educational project aimed at creating modular model insects. Since September 2020, my research took an unexpected direction with the creation of an articulated doll whose shape can be transformed with the addition of other interconnectable modules. The creation of this articulated doll, in turn, led me to shift my research to the shape-shifting ability itself, with the creation of a system in which any set of connected parts has the property to rotate at their connection points. The system’s plastic result materialized the whole research process, which is still ongoing.The project adopts an open source approach and is already published under a General Public License (GPL) that allows it to be accessed and altered as long as the project's open source approach is maintained. In its current form it is already a consistent system for building transformable forms, establishing a connection between the realm of interactive art and the vast universe of ludic techniques, whether educational or just for free play.
The Question Game: a learning through play experience
Authors: Behncke Ragnar
Published: January 2022

The following work is informed by and exploration bridging biological anthropology with education. The design of this educational experience is grounded on Humberto Maturana’s ‘cultural-biology’. The panoramic perspective of “The evolution of learning” gave us a new vision about the importance of Teaching, as a tool for collaborative challenges. We realized that the main hurdle on “alternative education” is the final exams that the Ministry of Education of Chile asks at the end of the year. In order to prepare our students with the National Curriculum, all the ideas of play and creativity were subordinated to this aim. Our proposal is to understand "the final exams" as a collective challenge of the whole school, including the students, and use all "learning through play" strategies where older children could teach and facilitate learning to the younger children. Based on this, we designed "The Question Game", a board game which is run by several teams of 4 children of different ages each. They need to roll the dice and find the question that the dices show. Teachers give the questions that we collect directly from the "final exams" format. They take the question that needs to be solved in group, then if the answer is right, we give a sticker to the group, and they continue until they solve all the questions for that week. Then we have a moment to share the experience with the other teams and promote the concept that the school as a whole can solve all the challenges. For example, we give incentives for all the school like a day at the beach or in the forest. Our education design is based on transforming the logic of "Individual" "year" "exams'' and transforming it into a "Playful" "collective" "day to day" activity. We embodied this concept using the enaction principles of learning with the body, then we design the space in order that children are moving continuously from their desk to the teachers’ place, interacting with other students. The economic cost to implement this game is very accessible, and easy to implement (the main inputs are paper, pencils and stickers). These ideas and educational design are deeply rooted in the Santiago School of Cognition. We boost what children learn with social interaction with their peers and also by moving their body with high frequency. Finally, using "Teaching" as a tool is critical, because it is an application that cognitive knowledge is a social coordination, and promoting children teach each other, is a way to give a practical relevance of the information in their lives, and then reinforce motivation to really learn.
Paradise is for everyone
Authors: Carone Lynn , Pericin Fernando
Published: January 2022

"Paradise is for everyone" is a film produced by Lynn Carone and Fernando Pericin, as a result of the combination of three previous projects in dialogue, derived from the research of both and that contemplate themes like bodies, territories and urban occupations. The video performance "It`s many layers" by Lynn Carone and Sueli Vital was born from the observation of a place and the weirdness caused by it. They used a specific place to perform the work with focus on racism. The physical territory was a stimulus for reflections about structural racism and the search for reparation concerning taking an anti-racist position. For the video performance, the concept of site-specificity was considered, thought as site-oriented, in which, according to Miwon Kwon, the work would not be only "a noun/object", but a "verb/process", provoking the critical acuity, not only physical and phenomenological, of the spectator, but also, to the ideological conditions of this experience, in this case, the observation of the specificity of the name of the restaurant "Senzala", located in an upper-middle-class neighborhood of São Paulo, Brazil. The work "The Contemporary Gay" by Fernando Pericin was born from the indignation of the attacks on people deviating from the gender and sexuality standard in recent years, supported by reflections on the text "What is contemporary?" by Giorgio Agamben. According to the Gay Group of Bahia report, 174 gay men were victims of violent death in Brazil in 2019. In times of pandemic, claiming his right to protest, Fernando used the empty streets as a base and his body as a support to perform a solitary performance to express his indignation and provoke reflections about the decisions and statements made by the current government about the LGBTQIA+ population.In 2021, Lynn Carone and Fernando Pericin promoted the continuation of a work started in 2019, when they met, interviewed and photographed a transexual woman in her workplace, resulting in the video "Transfly", which provokes reflections about the artists' research, such as the place and its specificities, prejudice, oppression, reunions and reconnections. Reflections on the three works provided a (re)meeting between the artists and their poetics and resulted in the experimental video "Paradise is for everyone" as a form of expression and elaboration of a visual thought, which includes the experiences in the city territories, the specificities of the places as questioning propellants, the personal positions in micro politics assumed as a life posture and personal transformation, rethinking the ways of relationships. The records revisited as archives allowed re-readings in collages, and images and sounds overlays, placing the three productions in a scenario that transits between reality and nightmare, giving continuity to the discussions of the work in process. Priscila Arantes helps us understand this path when she says that an archive allows the artists to make new rearrangements and numerous narratives.
Long Distance Call
Authors: Oliveira Raymundo
Published: January 2022

The paper covers three interactive installations carried out by the artist-authorresearcher in his artistic/poetic research project “Interurbano” (long distance call) at the Federal University of Pará. The objective is to understand the process of poetic use of embedded systems with a focus on the Arduino platform, analyzing and comparing some existing productions that use this technology to three interactive installations done by the author: an antique green analog telephone altered to simulate bird’s calls, a tap that emits people speech about water through a headphone connected to it on the gallery wall and an interactive umbrella equipped with speakers connected to an electronic carpet capable of telling where the user is standing holding the umbrella to play specific city’s soundscape. All three interactive sonic installations work with previously recorded sounds of different areas of the city of Belem, located at the entrance of the Amazon River, to reflect about the relationship between man, technology and nature. The birds singing on the phone were species usually found on the city of Belem in the past but that are harder or impossible to find it today on the same area, the people interviewed for the tap installation were residents of Belém who live in different neighborhoods and for the umbrella installation were recorded three different soundscapes of the city for: the urban, the fluvial and the forest soundscape. The installations where financed by the Cultural Foundation of the State of Pará and were displayed in a exhibition called “Interurbano” (2018) for public interaction at the Kamara Kó Gallery. The paper addresses the main questions that started the creative process and the relation of the works with the city of Belém in the Amazon Rain Forest, the creative process of the author and collaboration with technicians using microcontrollers in artistic installations as well as the concepts of interactivity, interface, imagery, and augmented space within aesthetic proposals focused on art and technology. The creation of the work will be covered from the author’s first ideas, drawings, schematics, prototyping, wiring and coding with Arduino to the installation montage and public interaction at the gallery. All the process was recorded in video as well as photographs showing the nuances of the work in progress. Several artistic proposals are presented with poetic use of microcontrollers to alter objects and develop installations with interactive or responsive interfaces to the environment. All the code done in the project is shared with the public along with schematics of the works. The paper also approaches the works of other artists such as Robyn Farah, Gilberto Prado, Nils Volker and Daniel Rosin comparing different uses of microcontrollers in art installations.
Reimagining Design Education in a new context
Authors: Sarrot Raul
Published: January 2022

The impact Covid-19 had on people's lives over the last couple of years is still an evolving challenge and a field of ongoing research. The so-called 'new normal' or 'post-Covid world' seems to be more of an elusive, fluid, ever-changing scenario rather than a stable reality as many initially expected or even hoped after the initial global pandemic outbreak. While unprecedented efforts from Governments and international organisms take place, experts in different disciplines –from epidemiologists to economists– are fully dedicated to researching, distilling insights and analysing results to not only assess and measure the actual 'live' impact of the –now turned endemic– pandemic yet also to forecast short and long-term implications. Yet, despite all this effort addressing the effect on the physical and mental wellbeing of individuals, communities and businesses, Educators are facing their specific challenge: teaching in an unknown and ever-changing paradigm. Adapting between intermittently teaching on-campus, remotely, and in hybrid models –mixing virtual and physical classrooms– Educators are finding themselves prototyping 'live' and testing in short sprints, attempting to adapt or even redesign pre-existing curriculums and methodologies. Is this working? What is the impact –tangible and intangible– in the learning outcomes and the students' experience? Is there even time for reflection, iteration and reassessment when the realities and context themselves are constantly shifting? Furthermore, there is an underlying challenge: how to keep students engaged 'remotely' when it is hard to understand the challenges they face in their 'home bubbles'?. Reimagining Design Education in a new context is an article that explores how the new global dynamics impact specifically the Design education ecosystem and mainly focuses on how this affects the mindsets and emerging behaviours of Educators and young University Students (who are only becoming familiar with the Design world). Tracing parallels between Design education and industry-based practice, the exploratory journey in the manuscript takes into consideration foundational education, philosophical essays and incorporates different points of view –from Design Educators to concepts coming from Positive Psychology and Neuro-Linguistic Programming (NLP). Reimagining Design Education in a new context challenges the paradigms of core Design Education methodologies and aims to understand better the tensions between the current and potential future models and how this could impact the learning journey. Nevertheless, it also inspects how this relates to the Design Educators and Design Students' mindsets and behaviours beyond School, incorporating the challenges they face in this new non-conventional paradigm (including the students growing relationship with technology). As a piece of research, it does not offer final crystalised answers or solutions yet instead poses critical questions and offers an open dialogue with diverse points of view.
Long-form narrative design of streaming
Authors: Notariano Belizário Pedro , Massarolo João Carlos
Published: January 2022

This article’s proposal is to relate script studies and new spectator consumption habits studies. In essence, we will explain the binge-wathching phenomenon by analysing the narritive design of complex series, identifying the specific qualities that promote the spectator's binge-wathching in the macro-structuring of this format. In a general sense, we will make our analysis by comparing the narrative structures of series and films, pointing out the differences between the narrative designs of these two formats that make it impossible for a series to be compared to an extended film. Basically, we try to disprove the idea that “as habits related to the way of watching TV series evolve, they will tend to be increasingly conceived and written as a extended film” (KALLAS , 2016, p. 16). From this statement made by Kallas, intertwining concepts of consumption habits with those of scriptwriting, some questions arise: If a series is like an extended film, why do we complain about the length of exended films, like Martin Scorsese's The Irishman with its dull 3.5 hours in length, while managing to watch whole series containing at least twice as many hours? If a series is like an extended film, why is it split into episodes even though these can be watched in sequence - binge-watching? If a series is like an extended film, why does it need the collaborative elaboration of a writers room instead of being conceived by a single author? The structural comparison between films and series is not impossible, but we will show how problematic it is, or at least how harmful for the analysis of complex series as an autonomous format, with its own notions of elaboration and structuring. In that sense, unlike films, series are built from a structure of repetition of acts within its structure – the episodes generally have 3 to 5 acts each. This results in a greater narrative density of the series, since acts compressed in time lead to a faster pace of narration, with more recurrently plot points in the story, capable of intensifying engagement and increasing the attention of the spectator who practices the binge-watching. This huge amount of acts, narrative arcs and characters go beyond the creative capacity of a single author, requiring a collaborative elaboration of a screenwriter’s room, with several heads thinking the story simultaneously. Thus, this article seeks, through the comparison of the macrostructures of series and films, to point out the differences in the narrative design of these two formats. In other words, we aim to elucidate a simple concept: different formats assume the existence of different narrative designs.
Informing immersive learning design research and practice from the epistemology of the Santiago School of Cognition
Authors: Aguayo Claudio
Published: January 2022

The Santiago School of Cognition postulates that the process of intelligent cognition in any living system is a result of its ongoing process of adaptation to its medium. In other words, the very process of life in living systems is a process of cognition. It also establishes that human experience and cognition is embodied and enacted with the environment, through a continuous process of active perception and sense-making of the world. Coming from systems biology and founded on the concept of autopoiesis, literally meaning self-making, defining living systems as those that can reproduce and self-maintain themselves by creating their own parts, the Santiago school essentially offers an alternative epistemology for the understanding of human experience phenomena with digital tools and environments. It also provides a framework for the creation, design, development, implementation and use of digital affordances (possibilities offered by digital technology) in education and beyond. Informing immersive learning design research and practice from the epistemology of the Santiago school also helps exploring and navigating digital innovation and the emergence of new technologies and modes of user experience design and practice. Under the premise that the nature of the world we live in is complex, interconnected, unpredictable and ever-changing, and that human experience is subjective, ecosomaesthetic, symbolic and felt with the world, traditional western design concepts such as ‘one solution fits all’ or even the notion of ‘user experience (UX) design’ become problematic. Autopoiesis, cognition and enaction at the basis of human lived experience are some of the fundamental concepts and principles coming from the epistemology of the Santiago school that can inform and guide user-centred design and creative making practice in real and virtual worlds. Embedding properties found in living systems within creative solutions, or designing for users ‘to become with the world’ in a circular enactment within digitally immersive environments are only examples of where practice-led research and creative making can go. Here, the fundamental concepts and building blocks of the Santiago school are presented and reviewed in relation to their ability to inform the understanding of the nature of human experience in real and immersive worlds, and how we ought to design for it. Examples from research and practical work will help to portray how the epistemology of the Santiago school can become of interest and of real value to artistic and design practice and inquiry. Finally, the philosophical rationale guiding the inclusion of principles and concepts coming from the Santiago school in digital learning design, creative design and artistic practice not only invites us to reconsider and re-conceptualise the role of learners and of digital technology systems and tools in educational practice, but also to rethink the nature of learning and of human experience within creative practice.
STEAM Apps: Weaving numerical and geometric comprehension with the fingers
Authors: Videla Ronnie
Published: January 2022

STEM and STEAM education promote integration between science, technology, engineering, math, and the arts. The latter aims to promote deep and collaborative learning of students, through the integration of the curriculum in K-12 science education. STEAM promotes the embodiment of cognition through learning by doing. The enactive and ecological approaches to cognition presented auspicious evidence for the role of incarnation and gesture in learning with digital technology. This work aims to provide design and concept evidence on the scope of enactive and ecological approaches within the framework of STEAM learning with digital and emerging technologies focused on the concept of tissue. We place ourselves epistemologically from the embodied design for the development of educational technology centered on "learning is moving in some way" following Dor Abrahamson who reveals the enactive and ecological approaches to learning science. Also, we are framed in Claudio Aguayo's UX and UI user experience designs with emerging technologies. In the case of digital technologies, we pay special attention to learning mathematics through the knowledge of numbers and operations with the fingers. To do this, we present a prototype of Apps inspired by Nathalie Sinclair's Touchcounts and Touchtimes, with variations in haptic perception for the emergence of numbers and operations through touching and tracing movements with the fingers on the touch screen. Regarding emerging technologies, we rely on augmented reality and virtual reality. In the case of augmented reality, we focus on learning science and geometry through the spider web. The idea is that students can see the different planes of a spider web and identify different regular and irregular geometric figures, as well as explore the architecture of the web and its properties. In relation to virtual reality, we focus on Mapuche textile art (indigenous people of southern Chile) where we explore the characteristic fabrics of the culture within the “ruca” (characteristic home of the Mapuches). First, students design Mapuche textile fabrics from geometric patterns, applying symmetry and fractals. Then with virtual reality glasses, they can navigate inside the ruca to learn details of its architecture and the fabrics most used by the Mapuche culture. Our STEAM approach to app development consists of an integrated learning ecosystem that enhances digital and immersive experiences for learning about math, science, and art using engineering and technology. Finally, we can conclude that our approach describes education as a process of cognitive assembly embodied in perception and guided action with different types of artifacts through digital affordances. We highlight the role of the disciplinary integration of Science, Technology, Engineering, Arts and Mathematics to understand and strategically reveal the scientific cultural potential of our native people "Los Mapuches".
Water, sustainability and poetics in the works of the cAt group.
Authors: Braz Soraya , Dorta Rodrigo , dos Santos Caio , Fogliano Fernando , Hildebrand Renato , Milano Bárbara , Nunes Fabio , Rubini Tiago , Sogabe Milton
Published: January 2022

Since 2015, the cAt (science, Art, technology) research group from the Arts Institute of UNESP (São Paulo State University) has reflected upon Art-technology productions, that raise concerns about sustainability related to energy sources and alternative possibilities for energy generation without the direct use of computers and complex technology apparatus, while maintaining relevant aspects of the digital interactive works, such as the use of technology, interaction with the audience and a systemic view. These concerns were initially introduced in the production of the work “Sopro” (“Blow”), started in 2015, which is an interactive work powered by the audience participation through the strength of a wind blow on a pinwheel. This work is based on the use of a simple technological system, seeking the poetic dimension of the act of blowing and primary scientific principles. Upon the development of this work, the group sought the possibility of creating a series of works focused on concerns about sustainability with original interaction dynamics, thus creating new systems and works in which the body of the audience becomes the power source. In this context, not only the resulting works are important, but especially the creative process, in which artists focus their concerns and researches on socio-environmental issues, thus assuming a new view of the world, seeking new attitudes, new relationships with individuals and communities involved within this process, transforming their ways of life and materializing that into Art.In this paper we present the works that are part of the triptych, with each of the works having a different aspect, but related to the others. The works are presented in spherical, cubic and cylindrical formats. The public's physical relationship with the work takes place through a bodily activity, being blowing, touching and moving a part of the piece. The water is always present, but in a different physical state in each one, being part of the technological system and the poetic construction.In this article we focus on the water element, although other technological and symbolic aspects are present in the works. In the work “Sopro”, in the liquid state, water represents the context in which life arises. In the second work, “Toque”, in solid state, water serves as part of the technological process, in partnership with human contact, with the hot and cold contrast for energy generation. And in the third work, “Gesture”, water represents the symbolic part of the work, related to the passage of water from a liquid to a gaseous state, such as the condensation that occurs in the rain process.
The Collaboration between Humans and Robots in the Industrial Environment
Authors: Ismaeel Tarek , Siegfried Patrick
Published: January 2022

This study will describe how the robotics industry evolved increasingly and a new phase of advanced robotics has emerged, and the relation between humans and robots in the same workplace. Problems of designing safer robots in human-machine interaction systems are urgent research topics in the field of industrial robotics. Many of the problems in industrial robotics are related not just to technological issues, but also to human-robot collaboration also will be discussed as an effective method to tackle this issue is the invention of Collaborative robots.
A Method of PD-Fuzzy Control for Acrobot
Authors: Nguyen Van-Dong-Hai , Dang Xuan-Ba , Lam Minh-Nhut , Tran The-Vinh , Hoang Vu-Duc , Dao Trong-Tuan , Le Xuan-Tung , Nguyen Tang-Phi
Published: January 2022

In this paper, we design a PD-fuzzy controller which is developed from PID method. The model for testing here is acrobot – a SIMO model which imitates the action of barbell athlete. We create a hardware platform for real experiment. The aim of controlling is keeping link 1 at up-position and link 2 at down-position. Through both simulation and experiment, the PD-fuzzy controller shows better control quality than original PID controller.
Study about the Management of Working from Home during the COVID-19 Pandemic
Authors: Popovici Gheorghe
Published: January 2022

The paper presents the results of the study on home work management. The COVID-19 pandemic has produced, in addition to a health crisis and an economic crisis like no other, with unexpected effects and an impact that we have not thought about and that has profoundly changed the way we work, it has made us pass from office work to telework, in other words to working from home. Therefore, the only "points of support" for us to pass this test are the lessons learned on the go for telework management.
Posibles casos de metátesis en la lengua de las inscripciones jeroglíficas mayas
Authors: Baboshkin Maxim
Published: January 2022

El propósito de este artículo es argumentar la presencia del proceso fonológico de la metátesis en la lengua de las inscripciones jeroglíficas mayas, apoyándose en los datos comparativos. Se revisan los principales patrones del reordenamiento de segmentos, ubicados hasta el momento en las lenguas mayas de las Tierras Bajas. Los casos modernos y coloniales se comparan con los ejemplos ubicados en las inscripciones jeroglíficas mayas, poniendo especial atención en el reordenamiento de segmentos en las estructuras CV-CVC. Se describen sus rasgos principales y se hipotetiza sobre la posibilidad de influencia de los procesos escriturarios sobre el desarrollo de algunas formas metatizadas.
Gauging Long-Term Knowledge Retention of Forensic Science: A Follow-Up Study of College Students Who Participated in a Crime Scene Simulation
Authors: Byrne David S
Published: January 2022

This is a long-term follow-up to a prior study which found that simulations enhance knowledge retention of undergraduate students who had participated in a mock crime scene. Employing the qualitative method, three participants from the original research were interviewed 1- to 3-years later and asked a series of questions relating to their coursework on forensic science.  Findings revealed that long-term knowledge of the major theories relating to the subject domain remained stable over time.  It was only the responses to questions regarding specific terminology that presented a gradual decline which is consistent with the decay of semantic memory. Furthermore, each of the subjects were able to recall exactly when during the mock crime scene that they experienced or solved the interview question posited.  The ability to trace back and pinpoint the task that prompted the learning and reinforcement of the concept is aligned with episodical memory.  Overall, the results indicated that classroom simulations improve long-term knowledge retention of forensic science students.
Termes d’adresse dans la société contemporaine: deux cultures à l’aune du regard du chercheur
Authors: Gavris Danut-Grigore
Published: January 2022

This article’s purpose is to analyse the derived forms of term frère in French culture, where its correspondent is frérot, and in Italian culture, where the correspondent is fratè. We will try to show how and why, if yes or not, the two terms represent the same realities in both languages; if there is a same semantic extension and how the speakers of both languages use the two derived forms in their conversations. This study is contrastive, and its objective is also to define convergences and divergences of the use of the two forms fratè and frérot in the languages under analysis, that is to say French and Italian.
Theoretical and empirical underpinnings regarding stock market forecasts and predictions
Authors: Dumiter Florin Cornel , Turcaș Florin Marius
Published: January 2022

Current theories support an inverse relationship between the expected return on investment and the associated risk. The DCF valuation method highlights the fact that the value of the company is given by the ratio between the excess cash (at the numerator) and the risk assimilated by the capitalization rate (at the denominator). The modern portfolio theory MPT considers that the proportion of recommended securities is on a parabola in mean-variance space, the risk being assimilated to uncertainty. Practitioners assess the target and the risk (take profit/stop loss) based on the methods of technical analysis. We appreciate that these theories are divergent from each other, disconnected and therefore difficult to unify. Our approach, based on the probabilities associated with each level of future quotations, eliminates the disadvantages of current theories. The answer found is to try to establish as realistically as possible what the chances are that, over a certain period of time, a title will have a certain quotation (or be in a certain range). For reasons somewhat similar to those of sports betting, the conclusion that emerges from the article is that this approach, if well developed, gives superior results to those currently used. In subsequent studies, forecasting methods are to be developed, because we consider them the most important in the investment process.
Where do real output shocks to Nigeria mainly emanate from? Empirical analysis of Nigeria-China-India-USA economic interactions
Authors: Orji Anthony , Nwodo Ikenna Paulinus , Ogbuabor Jonathan E. , Anthony-Orji Onyinye I.
Published: January 2022

This study investigated Nigeria's economic interactions with China, India, and the USA with a view to identifying the main source of real output shock to Nigeria in the period 1981Q1-2019Q4. The analysis followed the network approach of Diebold and Yilmaz (2014), which uses the size and direction of normalized generalized forecast error variance decompositions (NGFEVD) of a vector error correction model to track shock propagation among economic entities. The results indicate that China and India are net transmitters of real output shocks to Nigeria. The results also indicate that Nigeria is a net real output shock receiver. The study concludes that Nigerian policymakers should evolve policies that can insulate the economy against real output shock heatwaves from around the world, especially China and India. Such policies should mainly target the diversification of the economy such that crude oil will no longer be the only major source of revenue.
Identitet i en föränderlig värld : Sju nya historieskrivningar
Authors: Andersson Irene , Danielsson Malmros Ingmarie
Published: January 2022

Antologin visar nyansrikedomen inom det ämne som i vid mening kallas historia. Avståndet mellan texterna kan tyckas vara stort, då det rör sig om skildringar av hur vikingar gestaltas på museum, den svenska adelns förändrade identitet under 1800-talet, hur unga flyktingar i Sverige idag formulerar sin historiska självförståelse i sociala medier och analys av socialdemokraters memoarer som historieskrivning. Vidare berörs materialförvaltares professionalisering inom elitishockey, kulturarv och reggaeturism i Jamaica samt volontärorganisationers förändring till politiska rörelser i flyktingmottagandet 2015. Det gemensamma temat för antologin är frågor om hur individer eller kollektiv formar sin identitet i relation till de temporala sammanhang som de skriver in sig själva i.
ОСОБЛИВОСТІ ЗБЕРЕЖЕННЯ ПРАГМАТИЧНОГО ПОТЕНЦІАЛУ АНГЛОМОВНИХ РЕКЛАМНИХ СЛОГАНІВ
Authors: КРАСУЛЯ Алла , ШУМИЛО Анжеліка
Published: January 2022

Англомовний рекламний дискурс є складним комунікативним феноменом, реалізованим у певному медіапросторі найефективнішими засобами, які поєднують у собі соціокультурні та психолінгвістичні аспекти. У ході дослідження з’ясовано, що переклад рекламних текстів, гасел зокрема, має низку особливостей, позаяк перекладач повинен брати до уваги специфіку вихідної та цільової мов, а також знайти спосіб ефективної передачі сутності, закладеної в меседж оригіналу. У статті схарактеризовано шляхи збереження прагматичного потенціалу під час перекладу англомовних рекламних слоганів українською мовою. Установлено, що рекламний слоган поєднує в структурі психологічні, психолінгвістичні й соціокультурні складники. Проаналізовано особливості перекладу тих рекламних гасел англомовного рекламного дискурсу, структура яких увиразнена лінгвостилістичними засобами на лексичному, синтаксичному та фонетичному рівнях. Найтиповішими лінгвостилістичними засобами увиразнення на лексичному рівні вважають метафору, епітет, гіперболу, персоніфікацію, каламбур, порівняння й метонімію. На синтаксичному рівні виокремлюють антитезу, риторичне запитання, повтор, паралелізм та інверсію. Фонетичний рівень позначений використанням рими, алітерації та асонансу. Виявлено, що найтиповішими способами перекладу рекламних текстів є відсутність перекладу, дослівний переклад, адаптація та ревізія. Зазначено, що прийомом творчої адаптації (транскреації) перекладачі теж активно послуговуються насамперед для інтерпретації широкого спектру соціокультурних особливостей цільової аудиторії. На підставі врахування комплексного характеру англомовного рекламного дискурсу розроблено низку рекомендацій щодо перекладу рекламних слоганів українською мовою.
КОЛЕКТИВНА ПАМ’ЯТЬ У СІМЕЙНОМУ РОМАНІ О. ЗАБУЖКО «МУЗЕЙ ПОКИНУТИХ СЕКРЕТІВ» ЯК ЗАСІБ УСВІДОМЛЕННЯ НАЦІОНАЛЬНОЇ ІДЕНТИЧНОСТІ
Authors: РУМЯНЦЕВА-ЛАХТІНА Оксана
Published: January 2022

У статті здійснено спробу проаналізувати сімейний роман О. Забужко «Музей покинутих секретів» з позицій «колективної пам’яті». До завдань, поставлених авторкою, належать: 1) відстежити кореляцію індивідуальної пам’яті й з’ясувати її вплив на пам’ять колективну; 2) установити, як колективна пам’ять діє на усвідомлення національної ідентичності (мова йде про українську ідентичність) інтелектуально розвиненої особистості; 3) окреслити «місця пам’яті» (у цьому випадку – фотографії) і з’ясувати, як вони крізь призму індивідуальної пам’яті впливають на підсвідомість сучасників. Авторка статті спирається на ідеї М. Хальбвакса, П. Нора, А. Ассман – дослідників властивостей пам’яті, а також на праці українських учених-літературознавців, які акцентували увагу на проблемах колективної пам’яті в художньому тексті. У ході дослідження спостережено, що одним із авторських посилів роману є зосередження на історичних темах: Голодомор – Друга світова війна – Боротьба УПА з КДБ – Голокост – часи відлиги та криза радянської системи, їх осмислення й відображення в колективній пам’яті українців. У статті акцентовано увагу на тому, що через образи головних героїв Дарини Гощинської, журналістки, яка знаходить старі світлини й розгадує їхні таємниці, й Адріяна Довгана, що пов’язаний родинним зв’язком із персонажами на фото, читач має змогу відчути й пізнати суспільні колізії тих часів, коли радянська влада намагалася знищити національну ідентичність українців. Спостережено, що «місця пам’яті», окреслені в романі (фотографії), впливають на підсвідомість персонажів і примушують їх замислитися над проблемами історичного минулого. Зроблено висновок, що завдяки індивідуальній пам’яті інтелектуально розвинена особистість може «реставрувати» пам’ять колективну й активувати коди належності до своєї нації.