Digital Cinema Research Papers - Academia.edu (original) (raw)

2025

This book is a collection of contributed chapters that explores the application of feminist theory and women empowerment in the 21st century and the role that gender plays in society"-Provided by publisher.

2025, Tecnica della scultura applicata alle nuove tecnologie

EAN 9788831688710

2025, DİJİTALİN OLANAKLARINDA MEKÂN TEMSİLLERİNE BAKMAK: HELLBLADE: SENUA’S SACRIFICE ÖRNEĞİ

Bu araştırmada dijital olarak üretilmiş olan bir mekânın nasıl temsil edildiğine, kurgu ile bu temsilin nasıl ilişki kurulduğuna bakılacaktır. Bu noktadan hareketle, Hellblade: Senua’s Sacrifice oyunu seçilmiştir. Oyun, asıl karakteri olan Senua’nın zihinsel rahatsızlıkları ve travmalarının derinlemesine işlendiği bir kurguya sahiptir. Bu nedenle mekânlar, aynı zamanda bu karakterin psikolojik deneyimlerinin nasıl temsil edildiği ile de ilişkilidir. Araştırma kapsamında oyundaki mekânların yalnızca fiziksel ortamlar olarak değil, aynı zamanda Senua’nın zihninde şekillenen duyusal ve psikolojik unsurların bir yansıması olarak nasıl kullanıldığı da incelenmektedir.

2025

technische Fortschritt auf den Wandel der Gesellschaft aus der Nähe wirke 5 . Dabei betrachtete er die Medien als Erweiterungen der menschlichen Sinne, des Körpers und des Geistes 6;7 . Andererseits können diese aber auch als Betäubung bzw. Amputation der menschlichen Sinne verstanden werden 8 . Diesen Umstand erläuterte McLuhan mithilfe des Mythos Narziss und das Wort Narziss stammt aus dem griechischen Wort narkosis. Der bekannte Mythos dreht sich um einen Jüngling, der so in sich selbst verliebt war, dass er schließlich sein Spiegelbild im Wasser umarmen wollte und beim Versuch dabei ertrank. Grund dafür ist, dass er seine eigene Gestalt, die sich im Wasser wiederspiegelte, nicht erkennen konnte. McLuhan zog gerade diese griechische Sage heran, um mit deren Hilfe die Erfahrungen der Menschheit mit den neuen Medien zu erklären. Auch durch den technischen Fortschritt und neue Geräte werden die Körperfunktionen der Menschen gewissermaßen ersetzt, verstärkt oder ausgeweitet. Dieser Prozess kommt einem wichtigen Anstoß für die Gesellschaft gleich 9 . McLuhans Thesen kamen bereits bei der Entstehung des elektronischen Zeitalters zum Tragen. Die neuesten Möglichkeiten jener Zeit veränderten das Leben der Menschen auf der ganzen Welt, da vor allem Räume, Abstände und Entfernungen überwunden werden konnten 10 . Telefon und Internet ermöglichten eine schnelle und grenzenlose Kommunikation. McLuhan vertrat die Ansicht, dass "die Elektrizität nicht zentralisiere, sondern dezentralisierte" 11 und prägte in diesem Zusammenhang einen seiner wichtigsten Begriffe, Global Village 12 , in seiner 1962 erschienenen Publikation The Gutenberg Galaxy. Er beschrieb das jüngste Medium seiner Zeit, das Fernsehen, als "die 5 Vgl. McLuhan 1970, S. 18. 6 Im Buch erläuterte McLuhan seine Ansicht anhand der vielfältigen Medien, die er, im weiteren Sinne, allgemein auslegte. Neben den Kommunikationsmedien, wie Bücher, Funk oder Fernsehen, betitelte er unter anderem folgendes als Medium: Kleidung und Wohnen als ‚Erweiterung der Haut', der Hammer als ‚Erweiterung der Hände', das Rad als ‚Erweiterung der Füße', der Buchdruck als ‚Erweiterung der Augen' und der Computer als ‚Veräußerung des menschlichen Gehirns'. 7 Vgl. McLuhan 1970, S. 17 ff. Für ihn war das Medium kein neutraler Vermittler zur Kommunikation, sondern als ein Apparat, auf den an sich zu achten ist, weil die Botschaft jedes Mediums oder jeder Technik nicht nur Informationen übermitteln, sondern eine Veränderungen der Gesellschaft bzw. des Lebens der Menschen hervorrufen kann.

2025, Journal of the History of the Behavioral Sciences

2. On psychological experiments with magicians and the psychology of deception, see .

2025, Nevşehir Hacı Bektaş Veli Üniversitesi SBE Dergisi

İnovasyon çağında kreatif düşüncenin ve yenilikçi teknolojilerin yörüngesinde gelişim çizgisini sürdüren ve yaratıcı endüstrilerin önemli bir aktörü konumunda olan film sektörü prodüksiyon altyapısını oluşturan faaliyet alanlarında radikal değişikliklere gitmiştir. Bu süreçte sanal prodüksiyonlar, filmlerin üretim süreçlerinde zaman ve bütçe olarak yapımcılara sunmuş olduğu fonksiyonel çözümlerle ön plana çıkmıştır. Sanal prodüksiyonlar teknolojik olarak bir takım geleneksel görsel efekt uygulama setlerinin bir tür takipçisi olmakla beraber, günümüzün yapay zekâ teknolojilerini içeren uygulamalara hızlı adapte olması bakımından yenilikçi ve inovatif bir kimliğe sahiptir. Bu çalışmada sanal prodüksiyonların tarihsel süreçteki gelişimi ve teknolojik arka planına ilişkin literatür taraması sonucu elde edilen bilgilerden yola çıkılarak, sanal prodüksiyon ortamında yapay zekâ teknolojilerin kullanımının film yapımına etkilerine ilişkin açıklayıcı ve betimleyici bilgilere ulaşılmak amaçlanmıştır. Çalışmada betimsel analiz yöntemi ile sanal prodüksiyonlarda kullanılan teknik araçlar ve yazılımlarda yapay zekâ teknolojilerinin etkisi incelendiğinde, belli başlı konularda yaratıcı çözümlerin sunulduğu tespitine varılmıştır. Bu çözümler özellikle sanal prodüksiyonlardaki kamera-ışık sistemlerin hareket takibi ve kontrolü, çekilen filmlerin atmosferini oluşturan mekânların gerçekçi bir şekilde tasarlanarak canlı bir şekilde uygulanması ve sanal karakterlerin animasyonlarının anlık olarak stüdyo ortamında gerçekleştirilmesi gibi süreçlerde kendisini göstermiştir.

2025, Kastamonu İletişim Araştırmaları Dergisi - Sayı 14 / Bahar 2025

Öz
Post-truth çağında bilgiye ulaşma ve sunma biçimleri hızla değişirken, bu süreçte mizahi belgesellerin rolü giderek daha fazla önem kazanmaktadır. Özellikle günümüz medya ortamında, bilimsel bilgiyi eğlenceli ve düşündürücü bir şekilde aktaran yapımlar, geniş kitlelere ulaşma potansiyeline sahiptir. Bu çalışma, İsmet Ve serisinin post-truth bağlamında bilimsel bilgi sunumunu nasıl dönüştürdüğünü ve izleyiciler üzerinde nasıl bir etki yarattığını incelemektedir. Araştırma kapsamında, serinin “Evren & Bilim & Uzay & Dünya” ve “Evrim & İnsan & Yoğurt & Çağ” adlı iki bölümü seçilmiş; bu bölümlerin bilimsel bilgiyi nasıl işlediği ve anlatı yapılarının izleyici algısını nasıl şekillendirdiği analiz edilmiştir. Ayrıca toplamda 990 YouTube yorumu tematik kodlama yöntemiyle değerlendirilerek, izleyicilerin mizahi bir anlatımla sunulan bilimsel bilgilere nasıl tepki verdiği detaylı bir şekilde ele alınmıştır. Bulgular mizahi anlatımın bilimsel konulara ilgiyi artırdığını, eleştirel düşünmeyi teşvik ettiğini ve toplumsal meselelere yönelik farkındalık yarattığını göstermektedir. Bununla birlikte, bazı izleyiciler, mizahın bilginin anlaşılmasını kolaylaştırmasına rağmen bilimsel ciddiyeti azalttığı yönünde eleştiriler getirmiştir. Dijital medya ortamındaki geniş izleyici etkileşimi, mizahi belgesellerin bilim iletişiminde etkili bir araç olabileceğini göstermektedir. Sonuç olarak, İsmet Ve serisi, post-truth çağında bilimsel bilginin mizahi anlatılar yoluyla nasıl dönüştüğünü ve toplumsal etkileşimleri nasıl şekillendirdiğini anlamak için önemli bir örnek sunmaktadır.
Abstract
In the post-truth era, how information is accessed and presented rapidly evolves, making humorous documentaries increasingly significant. Particularly in today’s media landscape, productions that convey scientific knowledge in an entertaining and thought-provoking manner have the potential to reach broad audiences. This study examines how the İsmet Ve series transforms the presentation of scientific knowledge within the post-truth context and what kind of impact it has on viewers. As part of the research, two episodes—“Evren & Bilim & Uzay & Dünya” and “Evrim & İnsan & Yoğurt & Çağ”—were selected to analyze how they engage with scientific knowledge and how their narrative structures shape audience perception. Additionally, 990 YouTube comments were analyzed using thematic coding to gain insights into how viewers respond to scientific content presented through humor. Findings indicate that humorous narratives enhance interest in scientific topics, encourage critical thinking, and raise awareness of social issues. Some viewers noted that while humour facilitates comprehension, it also reduces the perceived seriousness of scientific content. The strong audience engagement in digital media suggests that humorous documentaries can be effective for science communication. Ultimately, the İsmet Ve series provides a valuable example of how scientific knowledge is transformed through humour and how this transformation shapes social interactions in the post-truth era.

2025, Análise Fílmica de Realidade Virtual Cinemática: Considerações Metodológicas

Analisar filmes em realidade virtual (RV) requer uma adaptação das ferramentas
tradicionais de análise fílmica. Este estudo propõe uma modulação na estrutura analítica
de Jullier e Marie (2009) para examinar como a conversão do quadro em cena 360º
altera a percepção do espectador, agora interator, empregando-a na análise do curta Rio
de Lama (Tadeu Jungle, 2016, 9’35”). A metodologia abrange a decomposição e
interpretação de elementos como ponto de vista, distância focal, profundidade de
campo, movimentos de câmera e combinações audiovisuais, com resultados que
indicam a necessidade de novas abordagens analíticas para essa forma-cinema.

2025, Palabra Clave

Los filmes de no ficción proponen una articulación textual de lo social contingente a partir de la afirmación de que los objetos, los sujetos, las relaciones y los acontecimientos que representa son verdaderos y ofrecen explicaciones racionales sobre contextos conflictivos y las acciones realizadas por quienes viven inmersos en ellos. En este artículo, partimos de esta comprensión del cine de no ficción para abordar desde una perspectiva semiodiscursiva la protesta social en los filmes Las tres muertes de Marisela Escobedo (Carlos Pérez Osorio, 2020) y Espero tu (re)vuelta (Eliza Capai, 2019), para elucidar a través de sus estrategias de enunciación algunas posibilidades políticas del cine de no ficción. Se pretende explorar cómo estas estrategias contribuyen a la representación de la protesta social y a la integración de acciones individuales en movimientos colectivos. Los resultados sugieren que mediante las películas seleccionadas se pueden identificar dos estrategias de integración de lo único en lo común: desde la actuación individual hacia la sensibilización política y desde la realización cinematográfica polifónica hacia la acción social. Estas estrategias se plantean como potenciales contribuciones a los repertorios de acción colectiva y de representación del cine de no ficción.

2025, Studies in Documentary Cinema

Lost & Found, is a nonfiction 360-degree documentary film cocreated by a cross-disciplinary research team from the University of Galway, virtual reality filmmakers, and clients of a homelessness service provider. Conceptualized in response to scholarly debates around VR and empathy, it draws on participatory video methodologies to situate the voice of community participants at the heart of VR documentary production. Here, Lost & Found is considered in relation to its impact on two cohorts: the end viewer of the film and the clients of Galway Simon who co-created it. The measured impact of the finished film on viewer empathy and attitudes develops existing debates around the potential for immersive experiences to produce attitudinal change. At the same time, the co-creation methodology that guided the film's production and exhibition grapples with the questions of inclusion, authorship and viewer positioning that have animated the discourse around VR and documentary filmmaking more generally. Through this discussion, attention is brought to the dynamics of inclusion and exclusion that arise from the use of immersive technologies within community settings, as well how the viewer experience within VR can be conceptualized as a form of ethical witnessing.

2025, 25º CONGRESSO DE CIÊNCIAS DA COMUNICAÇÃO NA REGIÃO NORDESTE

O objetivo da pesquisa é analisar como os trailers de filmes de terror da produtora A24 utilizam características publicitárias em sua composição para atrair o público e criar experiências emocionais intensas. A pesquisa é documental, de abordagem qualitativa, e utiliza a técnica da análise de conteúdo. Os resultados demonstram que os trailers utilizam estratégias como ritmo de edição crescente, sons distorcidos e efeitos sonoros para aumentar o desconforto; além de enquadramentos estratégicos, os quais reforçam a identidade da A24 e impactam o sucesso comercial da produtora com o público.

2025, Aurora. Revista de Arte, Mídia e Política. ISSN 1982-6672

2025, Bandwidths (ed. LaRocca)

2025, Oxford Encylopedia of Aesthetics (2 ed.) (ed. Michael Kelly)

In a life that spanned only forty years, Bazin became the most influential film theorist of his time without ever making, or wanting to make, films and without a university post. He did so as a full-time critic, writing for daily, weekly, and monthly magazines, attending film festivals, and organizing film clubs. A brilliant student of French literature and philosophy, Bazin in fact had hoped to teach, but a speech impediment cost him that opportunity in 1942, the year he founded a successful ciné-club at the Sorbonne. His earliest writings, which are notes from this ciné-club, show that he had already worked out a program to study cinema comprehensively, that is, from a variety of organized perspectives. Before the war was over he had composed the essay that launched this project, "The Ontology of the Photographic Image." By the time it appeared in print late in 1945, Bazin was making certain that cinema would play a role in the rebuilding of French culture. In the following years, he operated on two fronts. On the one hand, he helped upgrade the status of cinema, bringing this art into places formerly reserved for painting and literature. With Jean Cocteau, he started "Objectif 48," a rather refined club that met at the elegant Théâtre Champs-Élysées, where such directors as Orson Welles, Roberto Rossellini, and Robert Bresson would screen and discuss their latest work. On the other hand, Bazin , a left-wing Catholic, set up networks of film clubs in labor unions and cultural centers not just in Paris but throughout France and even in North Africa. Largely to make a living but also to do what he could to improve movies by raising the standards and expectations of viewers, he began reviewing films almost on a daily basis for what was the country's highest circulation newspaper Le Parisien libéré, something he continued to do throughout the rest of his life. His larger, more speculative essays initially came out in L'écran Français, until 1949 when he found himself fighting tuberculosis and an ugly political battle brought on by that journal's Stalinist response to the Marshall Plan. After a year of recuperation, Bazin returned in full strength to Paris, cofounding Cahiers du cinéma (first issue, April 1951) and was soon writing regularly for such influential new publications as L'observateur and Radio-Cinéma-Té'évision (now Télérama). He always reserved his most substantial essays for the Catholic intellectual monthly Esprit. All told, Bazin signed close to three thousand pieces in fourteen years, many of them, it is true, ephemeral notes and reviews. To date, his reputation has rested on the approximately 250 articles that have been kept in circulation. In the final year of his life, Bazin selected the best of his writing for inclusion in four small volumes bearing the overall rubric Qu'est-ce que le cinéma? (What is cinema?). He lived to see the first of these appear, Ontologie et langage. For Bazin the word "ontology" refers to the mode of being of the photographed image, including not only its physical properties but also the psychology of spectators, who can be said to confer on it its existence Oxford University Press uses cookies to enhance your experience on our website. By selecting 'accept all' you are agreeing to our use of cookies. You can change your cookie settings at any time. More information can be found in our Cookie Policy.

2025

O cinema é conhecido como arte do movimento, arte da imagem e do real. Em Yi-Yi, a narrativa é ponderada e atenta a estes conceitos, criando um paralelismo entre arte e vida. Neste ensaio procura-se analisar o movimento cinematográfico em... more

O cinema é conhecido como arte do movimento, arte da imagem e do real.
Em Yi-Yi, a narrativa é ponderada e atenta a estes conceitos, criando um paralelismo entre arte e vida.
Neste ensaio procura-se analisar o movimento cinematográfico em Yi-Yi e a que ferramentas recorre para ultrapassar a sua essência de apenas filme a realidade fílmica.

2025, Смущения / Изгубен свят

English follows Мария Василева Живот след края на настоящето Нека го кажем направо: отдавна нищо не е същото и колкото и инерцията да ни държеше привързани към света на абсолютните истини, трябва да признаем, че той вече не... more

2025, Revista de Teoría del Arte (https://revistateoriadelarte.uchile.cl/index.php/RTA/article/view/78819)

El artículo examina cómo los filmes La coquille et le clergyman (1928) de Germaine Dulac y Limite de Mário Peixoto (1931), invisibilizados en el tiempo de su lanzamiento, desafían los principios del surrealismo expresados en el primer manifiesto de Breton. A través de un análisis de la técnica cinematográfica como soporte de la memoria y la imaginación en estas obras, se argumenta que exhiben rasgos de una estética surrealista, pero critican simultáneamente sus supuestos románticos. Los filmes exhiben un foco en la mediación y la materialidad como una vía para explorar y cuestionar las estructuras sociales y culturales, además, proponen nuevas formas de percepción y experiencia estética que trascienden los proyectos de vanguardia.

2025, Film Criticism Conference of KSA

2025, HAL (Le Centre pour la Communication Scientifique Directe)

2025, La colmena: Revista de la Universidad Autónoma del Estado de México, 105, 136-140. ISSN 1405-6313

2025

Portugal, e em particular Lisboa, com vários corpos fantásticos: gárgulas, vampiros, lobisomens, zombies, demónios e outros seres habitam o universo lusitano naquela que é uma obra com claras referências cinematográficas aos mestres do cinema de horror e outros. Ao mesmo tempo, esta homenagem apresenta também uma reflexão sobre o corpo fantástico, a monstruosidade e o Outro. Centrando-se essencialmente nas figuras sobrenaturais desta obra, este ensaio aborda os corpos fantásticos presentes nesta BD, em particular o caso de Dog Mendonça, o lobisomem, e de Pazuul, o demónio em corpo de criança. Desta forma, o presente estudo tem um duplo objetivo: por um lado, explorar as influências fantásticas de As Aventuras de Dog Mendonça e Pizza Boy e, por outro, estabelecer uma leitura do corpo fantástico a partir da análise de duas personagens que circulam entre dois mundos numa mesma cidade, o mundo sobrenatural e o mundo humano.

2025, СЪВРЕМЕННИ КОМПЮТЪРНИ ПРОГРАМИ В БЪЛГАРСКАТА МУЗЕОЛОГИЯ

In the dynamic and fast-paced world, the idea of what the visitor should experience in the museum is changing conceptually. Extremes are reached in which the focus of attention shifts from the past to the fun, the elemental, even mixed with the modern commercial. For instance, following examples in Europe, in parallel with the existence of classical old museums, new interactive spaces are being created in Bulgaria. The museum as a field of preservation of cultural forms, values and knowledge of the past continues to exist and develop in parallel with technologies in the 21 st century. Digitization is an essential part of this activity. Accumulated old negatives, slides, microfilms, audio and video recordings are transferred to digital media or stored in computer archives. Particularly relevant in Western Europe today is the photogrammetric method, where a huge number of high-quality photos from different points of view are used to create a virtual model. These visual data are subsequently processed in computer programs with similar results through the principle of overlap (or, figuratively speaking, texture stitching). All these features of the modern world are gradually entering Bulgarian museology. Naturally, programmers and artistic designers passing through these modern periods will continue to face new challenges, such as the role and activity of artificial intelligence.

2025, Пропелер

This book explores the role of local festivals in small settlements in Bulgaria as a form of “soft” power and community cohesion. It presents a theoretical and empirical framework for analyzing the actions of initiative-taking social group actors who contribute to strengthening local identity, belonging, and informal leadership. Based on fieldwork conducted in villages and small towns, the book combines qualitative and quantitative data to introduce the Local Festivals Contribution Index (LFC Index). It is intended for researchers, sociologists, policy-makers, and practitioners interested in community development, intangible cultural heritage, and local governance.

2025

Sommaire 0. RÉSUMÉ 3 Encadré 1 -Nos partis pris 4 A. Les questions que tout le monde se pose sur les communs 5 Encadré 2 -Commun ou Plateforme ? 8 B. 3 points d'entrée pour structurer un commun numérique de la mobilité 9 I. INTRODUCTION 10 A. Objectifs 11 B. Méthodologie 12 C. Recenser les communs numériques de la mobilité 13 II. QU'EST CE QU'UN COMMUN ? 14 A. Les bases d'un commun : les 3 piliers 15 B. Les communs numériques 17 Encadré 3 -Rivalité & Non-exclusivité des communs 20 Encadré 4 -Commun ou Open source ? 22 III. LES ENJEUX DES COMMUNS NUMÉRIQUES DANS LA MOBILITÉ 23 A. 3 types de communs 24 B. Le rôle de l'acteur public 28 IV. POURQUOI FAIRE UN COMMUN (NUMÉRIQUE DE LA MOBILITÉ) ? 29 A. Une réponse pratique : la logique « Faire autrement » 30 B. Une philosophie : « Faire autre chose » 33 V. LES 3 PILIERS 35 A. La communauté : le coeur des communs 37 Encadré 5 -Communauté ou Ecosystème ? 42 B. La ressource : l'objet-lien des communs 43 C. La gouvernance : la pérennité des communs 46 Encadré 6 -Les structures juridiques observées 49 Encadré 7 -Trois modèles économiques à connaître 53 VI. LES RÔLES 55 A. Les 5 rôles clés d'un commun 56 B. Les 4 rôles récurrents d'un commun numérique de la mobilité 59 C. D'autres rôles 60 VII. PHASES DE VIE 61 A/ Phase de préfiguration 63 Encadré 8 -Trois histoires de vie possibles d'un commun 63 B/ Phase d'émergence 64 C/ Phase de maturité 64 ANNEXE 65 Annexe I. Les 16 communs rencontrés 66 Annexe II. Bibliographie 71 3 0. Résumé 0 -Résumé 4 Encadré 1 -Nos partis pris Pour réaliser ce guide de structuration d'un commun numérique de la mobilité, nous avons opté pour les partis pris suivants : • Investiguer des communs concrets pour en tirer des leçons & retours d'expérience • Focalisation principale sur les dimensions « organisationnelles » et non techniques/fonctionnelles : Comment faire fonctionner un commun ? création, structuration, maintenance, pérennité • Proposer et faire un premier test des pistes les plus appliquées possibles, au plus près des besoins réels. Résultat : 3 points d'entrée testés pour structurer un commun + une grille d'évaluation • Application au domaine de la mobilité, mais applicable plus largement à d'autres acteurs & domaines 0 -Résumé 5 A. Les questions que tout le monde se pose sur les communs Est-ce que les communs existent vraiment ? N'est-ce pas un effet de mode ? Pourquoi faut-il faire des communs ? En fait, les logiques de communs ne sont pas nouvelles. Ils existaient dans le droit romain (res comunis), et ils existent depuis longtemps dans certaines formes sociales (pêcheurs de homard du Maine documentés par Elinor Ostrom 1 , Amazonie, propriété communautaire sur le continent africain 2 ...). Ils existent aussi au sein du capitalisme, sous des formes/modalités différentes : centrales d'achat dans la grande distribution, GIE cartes bancaires... Tous ne sont pas d'intérêt général, mais répondent au besoin de mutualisation d'actifs dans un intérêt collectif (sectoriel). 1 Ostrom (1990). Voir bibliographie 2 Nubukpo (2022). Voir bibliographie Les communs servent à répondre à des besoins opérationnels partagés par divers acteurs. Ils ne sont donc utiles que dans un contexte donné. Actuellement, la logique de communs se révèle particulièrement pertinente, face au décollage du numérique 3 et aux contraintes sur notre environnement nécessitant une mutualisation entre organisations 4 . Au-delà de leur utilité opérationnelle, ils portent aussi en germe une philosophie génératrice d'une autre vision du monde, portée sur le collectif et le partage des pouvoirs. La question se pose alors du passage de cette vision du monde du micro (projets individuels) au macro (système macro-économique) 5 et du passage de l'intérêt collectif (de filière) à l'intérêt général (servir l'humanité et la planète). 3 4 5 Voir Section II. B. Les communs numériques Voir Section IV Pourquoi faire des communs ? Nubukpo (2023). « Notes sur une présentation de Kako Nubukpo à l'AFD, mars 2023, FabMob. » 0 -Résumé 6 Comment repérer de « vrais » communs ? Un « vrai » commun n'existe pas ! Si les 3 piliers communauté, ressource et gouvernance définissent ce qu'est un commun 6 , en pratique, les enjeux autour de chacun de ses piliers se posent différemment (Schéma 1). Certains projets que nous avons rencontrés ne se revendiquent d'ailleurs pas comme un commun, et même les lauréats du premier Appel à communs de l'ADEME (2021) que nous avons rencontrés ne savent pas tous ce que c'est. Les porteurs de commun naviguent entre 2 rives, la rive économique et la rive politique : les projets entrepreneuriaux, centrés sur la ressource, en recherche de modèle économique ; et les communautés d'intérêt, plus ou moins engagées dans la recherche d'un monde meilleur, à organiser, en garantissant la singularité de chacun et la réponse à un besoin commun. 6 Voir Section II.A) Les bases d'un commun : 3 piliers

2025

Изследването представя сравнителен анализ на добрите практики за интеграция на мигрантски ученици в България, Испания и Италия. Фокусът е върху езиковата адаптация, социалното включване и институционалната подкрепа, като се разглеждат различни практики и образователни методи. Изследването използва интердисциплинарен подход, съчетаващ социологически, педагогически и миграционни анализи, за да оцени ефективността и устойчивостта на интеграционните инициативи. Основните резултати показват, че успешните стратегии включват менторски програми, персонализирани планове за интеграция и създаване на междукултурни образователни модели. Въз основа на анализа са изведени препоръки за подобряване на българската политика в сферата на интеграцията на ученици мигранти.

2025, HAMBRE

Continuando con el ejercicio de desenpolvar carpetas, y en la búsqueda de trazar un recorrido de las interven- ciones audiovisuales en el espacio público en nuestros países, ponemos en sus manos una serie de diálogos generados entre 2013 y 2014 con artistxs mexicanxs, en las que se plasman sus concepciones y/o estrategias de acción en relación con esta praxis como nuevo modo de ejercicio estético-político.
Un intento más de abrir la atención y el entendimiento sobre este tipo de prácticas.
Que siga agrietando la luz.

2025

Nous avons essayé d'examiner dans ce mémoire l'état d'esprit des spectateurs de deux pays voisins, et de traditions culturelles différentes. Bien sûr, les 16 programmes analysés ne sont pas suffisants pour présenter des statistiques globales, mais, quand même, quelques conclusions peuvent être tirées. Dans tous les cas, le choix des spectateurs correspond à leur état d'esprit à ce moment-là. Ce choix est déterminé par l'offre des programmes d'un côté et les orientations psychologiques de la personne de l'autre.

2025, Byoblu - Informazioni classificate

Scopo principale del montaggio cinematografico è creare una narrazione coerente e coinvolgente. Un film può contenere centinaia di singole inquadrature, ma senza un montaggio attento queste inquadrature non riuscirebbero a trasmettere una... more

2025

The aesthetics of blurred images in film and photography is to be found in a great number of works, but has not proved to be, so far, of great concern for critics. In my article, I demonstrate the dramatic functions of transparent, diffused and blurred images, as well as their performative impact and value in the visual diegesis. My analysis also shows that the vanishing effect is present in almost all the cinematic and photographic works which deal with the concomitant existence of one or several parallel realities and with the impermanency and doubtful time of the presences in visual eclectic poetic spaces.

2025, I Jornadas de Sociologia La sociedad en disputa. Luchas, horizontes y desafíos de la sociología

Este trabajo explora cómo las tecnologías de reproducción y grabación musical han transformado nuestra percepción auditiva y visual, ajustando nuevas subjetividades en el consumo cultural. A partir de los cambios en la experiencia musical y visual, observamos una disyuntiva en la que el oyente y el espectador se ven condicionados por los intereses comerciales de las empresas culturales, impactando la relación subjetiva con el arte. Analizamos cómo la música y el espacio público se configuran mutuamente, sugiriendo que los sonidos de la ciudad también reflejan y contribuyen a la construcción de identidades y pertenencias.

2025, R.Inter.Interdisc.Art&Sensorium

O ensaio discute os deslocamentos da palavra museu na novela A invenção de Morel (1940), de Adolfo Bioy Casares. Mediante esse exame, procura cavar uma relação entre os mitos miméticos e a máquina de Morel, na ilha museu. Um dos objetivos de pensar a produção de imagens e sua circulação
ininterrupta é discutir os sentidos que podem conter o museu, enquanto edifício material e simbólico. No ensaio, esse regime imagético se aproxima dos deslocamentos da palavra museu, via a clássica interdição: proibido tocar! Por último, discutir (à deriva) os usos do museu, na novela de Bioy Casares, é uma tentativa de propor outros métodos para a escrita da história da arte que exponham, ainda que implicitamente, o colapso da representação.

2025, En un lugar de Corrientes

Este libro resalta la vivencialidad mística de los devotos, al tiempo que resalta la valoración sobre el poder milagroso de un hombre apartado del orden imperante hace más de ciento cuarenta años, que encuentra su redención por ser, a su manera, un benefactor de los más desfavorecidos y un luchador por la justicia, así es como ha sido interpretado sentidamente por sus numerosos fieles.
La autora refleja con esmerada habilidad el lazo emocional entre éstos y el Gauchito Gil. Expresa, con claridad sentida, a esa especie de “sapucay místico”, entendido este como el grito que exalta e invoca el misterio donde anida el poder sobrenatural, como componente del folklore de la correntinidad, que trasciende este límite geográfico para integrar el gran mapa cultural que, progresivamente, se ensancha con la expansión del culto al Gaucho Gil y que provoca el peregrinar de sus devotos a la zona del Pai Ubre.

2025

The theme of this research is inclusive innovation, the creation of knowledge, products and services to promote sustainable livelihoods, opportunities and income generation for people in greatest need. In addition, its theoretical framework discusses the relationship established between the concepts of work, informality, information and social inclusion, and presents a brief history of informational subjects studies. The study maps the information resources and the interactions with and between these resources used by people working in the informal tapioca production and sale sector of Recife -PE, in order to understand how this community develops its information practices to innovate or create new products or services. As for its objectives, this research is descriptive, and the approach to the object is qualitative and quantitative. The research is inserted in the field of studies of informational subjects of Information Science and its data collection was performed through the application of a survey and a semi-structured interview with nine tapioqueiras/os who work in the city of Recife and the analysis of these data was based on Sonnenwald's theory of informational horizons. The results show that the information practices of people working in the informal tapioca trade aims to meet informational needs about products (prices, quality, yield, validity, variety, gum, fillings, packaging, equipment and facilities), about processes (storage of raw materials, ways of producing, health and food safety, storage and exposure of the finished product, sale, tourist service, disclosure), about the environment (norms, regulations, legal requirements, dynamics of the surrounding institutions, events, articulation and political impact, public policies, social security) and management (control of finances, revenues and expenses, fixed and variable costs, entrepreneurship). In order to meet these needs, tapioqueiras/os access human information resources (family, friends, customers, suppliers, other tapioqueiras), digital and analog technological (internet, books, magazines, television, Whatsapp, Google , Youtube, Facebook, Instagram), and institutional (City Hall, State Government, Association, SEBRAE), and other resources (Jesus), so that humans are the most accessed, while institutional ones seem to have little relevance in daily life, except for the Association; there is also the record of prayer and faith as a way of seeking information. In general, tapioqueiras/os are satisfied with the processes of information search and use they have been operating, but the act of information intermediaries can contribute to the broadening of their informational horizon and their potential for innovation.

2025

Ataerkil toplumlarda kadın, tarihsel olarak erkeğin “ötekisi” olarak konumlandırılmış; kadın bedeni ise erkeğin arzuladığı, nesneleştirilmiş bir meta olarak temsil edilmiştir. Bu temsil biçimi, eril ideolojinin kültürel kodlarıyla beslenerek, medya araçları üzerinden sürekli olarak yeniden üretilmiştir. Teknolojik gelişmelerle birlikte bu söylemler, yalnızca geleneksel medyayla sınırlı kalmayıp interaktif medya platformlarında da görünürlük kazanmış ve normalleştirilmiştir. İnteraktif medya, sunduğu katılımcı ve yaygın erişim olanakları sayesinde, toplumsal cinsiyet rollerini pekiştiren içeriklerin dolaşıma sokulmasında önemli bir rol üstlenmektedir. Bu bağlamda, kadın bedeninin interaktif medyada bir meta olarak kullanılmasının, medyanın eril ideolojinin hizmetinde işlev gördüğünü göstermektedir. Bu çalışma, kadın temsili bağlamında Türkiye’deki film sitelerinin arayüz tasarımlarında kadın bedeninin metalaştırılmasını ele almakta; özellikle site içerisinde yer alan pop-up ve reklamlar üzerinden bu temsiliyet biçimini incelemektedir. Araştırmanın örnekleminde “dizilla2.org” adlı film sitesi yer almakta olup, bu site üzerinden yürütülen analizde nitel içerik analizi yöntemi kullanılmıştır. Reklamlarda kullanılan görsel ve metinsel öğeler, cinsiyetçi söylem bağlamında çözümlenmiş; kadının fetişleştirilmiş bir nesne, erkeğin tatminine hizmet eden bir obje olarak nasıl temsil edildiği ortaya konulmuştur. Çalışma, başta yeni medya çalışmaları olmak üzere kadın çalışmalarına da katkı sağlamayı amaçlamaktadır.

2025, Questions De Communication

2025, The Italianist

This article looks at two major works of Gianni Celati, Narratori delle pianure (1985) and Verso la foce (1989), considering their points of contact with anthropological practice and writing. After delineating the reasons for his rejection of the I-narrative and, more generally, of the modern Western novel, I reconstruct the influence of two crucial events on Celati (his discovery of conversation analysis and his collaboration with the photographer Luigi Ghirri) and analyse their impact on his works and thought in the 1980s. Celati finds new modes of narration by borrowing the anthropologist's tools, and develops a relational conception of identity (Cavarero) against the dominant view of the individual subject. Within his anthropological idea of literature, storytelling becomes the means through which individuals establish contact with the Other and experience a sense of communal belonging. L'articolo si concentra su due delle opere più importanti di Gianni Celati, Narratori delle pianure (1985) e Verso la foce (1989), guardando ai punti di contatto tra queste e la pratica e la scrittura antropologica. Dopo aver ripercorso i motivi per cui Celati rifiuta la narrazione in prima persona e, più in generale, il modo del romanzo occidentale moderno, si offre una ricostruzione dell'impatto di due avvenimenti cruciali sulla poetica e l'opera dello scrittore nel corso degli anni '80: la scoperta dell'analisi conversazionale e la collaborazione con il fotografo Luigi Ghirri. In questo periodo Celati trova nuove soluzioni narrative prendendo in prestito gli strumenti dell'antropologo e sviluppa una concezione relazionale dell'identità (Cavarero), che va contro la visione dominante del soggetto individuale. Nel contesto di questa idea antropologica della letteratura la narrazione diventa il mezzo con cui gli individui stabiliscono un contatto con l'altro e sperimentano un senso condiviso di appartenenza.

2025, 2024 IEEE Sustainable Smart Lighting World Conference & Expo (LS24)

Michelangelo Merisi da Caravaggio's celebrated work happens to be the result of a perceptual education that he received in Milan and to the continuous pursuing of his quest for skills in Rome. He improved his technique in such a way that, according to G.P.Bellori, painters "praised him as the unique imitator of nature, and looked his work as miracles". The mastery of light he progressively gained during this period, led him to innovate in terms of optical solutions he adopted controlling the light dispersion in his studio through the reflectance of his environment.

2025, Les Cahiers Protagoras

Version digitale complète de mon essai pour le dernier numéro des Cahiers Protagoras 11 intitulé "Les Big Tech, prédateurs ou arbitres du jeu démocratique ?". Encore augmenté au vu de soubresauts récents survenus depuis l'accession de Donald Trump et JD Vance à la présidence US, mon article met notamment la généalogie du secteur des « Big Tech » en parallèle avec l’histoire intellectuelle du néolibéralisme et ses rapports avec la propriété intellectuelle pour tenter un état des lieux (très très) pluridisciplinaire et critique du nouvel ordre mondial du capitalisme de plateforme, avec un focus sur les enjeux démocratiques du "web social" et un pan consacré au modèle régulatoire européen.
De la division du savoir à la division de la société et loin de toute forme de dépolitisation, il piste des alternatives potentielles à l'extraction de valeur de Big Techs hégémoniques et conclut à la nécessité d'urgemment traiter la question de la marchandisation totale de la vie privée.
Le tout est éclairé (notamment) par les travaux de Quinn Slobodian, Dieter Phlewe, Philip Mirowski, dana Boyd, Cecilia Rikap & Bengt-Åke Lundvall, Tim Wu, Shoshana Zuboff, Nick Scrnicek, Bernard Harcourt, Anu Bradford, Christian Fuchs, Estevao Bosco & Wagner Costa Ribeiro, Laeticia Cesarino, Ico Maly, Dominique Cardon, Clément Mabi, Arnaud Esquerre, Pierre Henrichon, Antoinette Rouvroy, Gilles Jeannot & Simon Cottin-Marx et (toujours) Mark Fisher.

2025

Raison dans la Pensée par Figures, par Percepts, par Concepts et par Fonctions.

2025

Un amore: lei e lui al bivio inesorabile tra vita e morte. Dei due, c'è chi si incammina verso la vita, immemore di quanto è accaduto, e c'è chi vola verso la morte, vanamente memore. C'è storia più ovvia da mettere sullo schermo di una sala cinematografica? È il nocciolo di "Nonostante", il secondo film di Valerio Mastandrea. La pellicola colloca tuttavia tale nocciolo dentro la polpa di un’idea fantasiosa e surreale, ma paradossalmente intinta di quotidianità. In altre parole, niente di più comune, come soggetto, ma nell’occasione “’o famo strano”, si saranno detti gli autori. E nello straniamento e nello scarto, predica un’estetica formalista, occhieggia talvolta la fiamma della poesia.

2025, VAINART, es una revista interdisciplinar de Bellas Artes, Humanidades y Ciencias Sociales en la que se publica artículos de investigación, opinión y análisis.

Artículos: 1.Modernismo, música y literatura: “La habitación propia” de Virginia Woolf y Ethel Smyth. 2.Cine, estética e internacionalización: Unas notas en torno a Apichatpong Weerasethkul. 3.El grafismo didáctico: Comunicar mediante la imagen impresa editorial. 4.Estudio artístico del paisaje y sus raíces (segunda parte). 5.ERCILIA, el nombre griego de la poetisa Antonia Díaz en los versos de Lamarque de Novoa. 6. La música es un lenguaje universal de comunicación.

2025, EQUIPèCO

This project, created by Onformative, Daniel Franke, and dancer Laura Keil, transforms dance into a dynamic digital sculpture. Using Microsoft Kinect cameras and advanced software, the dancer's movements are captured and rendered in a... more

2025, EQUIPèCO

Probe. Art on the Net is out of the Box!" explores the Dutch artist collective Suse May Sho’s project Probe, a miniature exhibition space accessible only via the internet. The article examines how Probe functions as a test lab for... more

2025, The Journal of American Culture

2025

the Railway Thriller seems never to have been defined. It ia late in coming to the fore. It exhibits two separate traditions Russian and British. From perhaps a hundred films it demonstrartes great creativity and variety.