E. C.: la estación de la comunicación de la Universitat Pompeu Fabra

Este trabajo hace una presentación de la recientemente creada Estación de Comunicación (EC) de la Universidad Pompeu Fabra de Barcelona: organización, actividades docentes e investigadoras, relación con el entorno urbano, etc., mostrando un centro concebido con altos criterios de transversalidad, en donde encuentran cabida los campos emergentes de las artes visuales.This paper gives a presentation of the recently-created Communication Station (EC) at the Pompeu Fabra University of Barcelona: organization, teaching and research activities, relations with the surrounding urban community, etc., demonstrating a centre designed according to a highly cross-sectional set of criteria, where space is found for the emerging fields of the visual arts

Quantitative meta-analysis of visual motifs throughout film history

This paper assesses the importance of visual motifs as new research tools for film and media studies, by running a quantitative meta-study of two expert review databases: the British Film Institute best-movies 2012 poll and the Encyclopedia of visual motifs in cinema (a joint venture of up to sixty researchers and film critics). The former is used as an indicator of canonic values in film historiography, while the latter represents a new approach to cinema from a less hierarchical and nonauteur- oriented methodology. Three main variables are quantified and compared (decades, genres, directors), pointing to a low accordance between the top films of both databases, as well as to noteworthy differences in terms of historical scope, high / low culture values, and authorship

The educational radiophony of university radios : transforming the entertainment in alternatives of teaching-learning

The first university radio in the world appeared on 19th November 1923 in Argentina - it was called the Radio Universidad. Since then, university radios followed up the evolutionary course of the common radio over the decades, representing the interests of the academic community. Such as web educational and training radio projects that emerged in the late 90's, the online broadcasters, brought up in the university departments, and the university radios began to supply a range of services and applications that did not exist till then. Unlike conventional radio, Internet radio immediately sparked the interest of the broadcasting companies, once it did not impose limits on the listener's geographical range, nor on the exclusive audio format programming. These radios have not delayed in employing the technological resources of web radio, fact that can be sustained by the quantitative growth of online platforms, hrough which people can have access to the ordinary programming in real time by means of a great variety of devices connected to the Internet. This investigation considered it important to analyze the educational potentialities of web radios in the Spanish and Portuguese academic universe. For that purpose, we made a selection of some experiments using Perona's selection criteria of "Modalities of Educational Radio ". In Portugal, the study was deeper and wider so that we were able to identify the differences and particularities of the six university radios available on the Web, described in more detail on the Rádio Universitária do Minho case study

The Smart Stage: Designing 3D interaction metaphors for immersive and ubiquitous music systems

This conceptual paper describes a work in progress in the process of design and implementation of the Smart Stage, an interactive music system prototype for collaborative musical creativity in immersive and ubiquitous environments. This system is intended to have a low entry barrier, thus more forgiving to users with lesser experience or knowledge in music, and it is designed with affordances to support intuitive progress in improvisational performance in a collaborative setting. We present a preliminary technical overview of the system and a first case study of a 3D interaction metaphor for granular synthesis, developed for this environment.Innovation Agency (Agência de Inovação, ADI, Portugal) and Quadro de Referência Estratégico Nacional (QREN, Portugal): VisualYzARt: Visual programming framework for augmented reality and ubiquitous natural user interfaces (QREN-ADI ref: 23201) and COMPETE - Programa Operacional Factores de Competitividade (POFC

AXMEDIS 2007 Conference Proceedings

The AXMEDIS International Conference series has been established since 2005 and is focused on the research, developments and applications in the cross-media domain, exploring innovative technologies to meet the challenges of the sector. AXMEDIS2007 deals with all subjects and topics related to cross-media and digital-media content production, processing, management, standards, representation, sharing, interoperability, protection and rights management. It addresses the latest developments and future trends of the technologies and their applications, their impact and exploitation within academic, business and industrial communities

Understanding the Telematic Apparatus

Under the conditions of its geographic distribution, the “telematic performance” can be regarded as a remediation of traditional concert, theater or dance formats. Conversely, and as this paper argues, the telematic performance can also be understood as an artistic format of its own right, one which then can serve as a trope for social interaction under the conditions of critical posthumanism. To gain a wider perspective, this paper analyzes Alan Turing’s “Imitation Game” from his seminal article Computing Machinery and Intelligence, 1950, proposing it as an early conceptualization of a telematic performance. This against-the-grain reading of Turing’s text reveals certain attributes that are distinctive to this type of performance. Following a descriptive and analytic critique of the “Turing Test,” Vilém Flusser’s theoretical considerations of digitization and technical apparatuses comes into play. In the second and main part of the paper, these findings are applied to a series of artistic practices with telematic performances developed by a research team at Zurich University of the Arts. The section details the construction of telematic apparatuses and demonstrates the multilayered interaction between human and nonhuman agents