Intention-Driven Screenography

The visual design development of Web Information Systems is a complex task. At present, the process is mainly based on experiences and seems to be an immovable part of art. Typically, occurs a late consideration of graphical issues that results in inflexibility and cause problems for extension and change management. Database and software systems are mainly based on development phases such as requirement acquisition and elicitation and conceptual modelling. Moreover, users, their preferences and portfolio are taken into consideration. We show in this preprint that these approaches can be generalised to website presentation. We use methods developed for programming in the large, e.g. patterns. We can map patterns to conceptualisations of web page layout, i.e. grids. Patterns shall help us to reuse concepts. This paper introduces the concept of pattern and clarifies their structure and task for the whole development. Because the WIS development process is based on six dimensions, we initially introduce development dimensions and show the seamless integration of the pattern-based approach. We call the art of website layout screenography. Screenography extends web application engineering by scenographic and dramaturgic aspects and intends to support the interaction between system and user. Screenography aims at an individualised, decorated playout in consideration of intention, user profiles and portfolios, provider aims, context, equipment, functionality and the storyline progress. The users orientation of WIS requires the deep integration of user concerns, tasks and expectations into screenography. Therefore, this paper develops concepts of intention- driven screenography

Accenting agency: duets within interactive video installation

This PhD by Publication constitutes a research enquiry into creative agency within interactive video installations through reflection on six published works: Remote Dancing (2004-9), Doing (2008), Orbital (2010), Gravity Shift (2010), ByPasser (2010) and Weighting (2015). These installations have been documented and are presented on online. Key to the discussion, is the notion of agency arising through the intersections within intermedial environments (Scott & Barton, 2019). By viewing interactive video installations from this perspective, I examine how activity within works can be viewed as co-agential taking the form of a duet between participant and filmic content. Through the choreographic concept of a ‘relational net’ (Rubidge & Schiller, 2014) I recognise and place importance on spatial provision for the whole-body movement across both physical and filmic space to encourage greater agency within installations. To progress the analysis, I identify specific forms of encounter and engagement a participant experiences as they interact with installations, drawing on observations around dwelling (Giddens, 2019) and intimacy (Hill & Paris, 2014) as significant contributors to agential involvement. As practical ways to support the development of future work in the field, I articulate modulation and destabilisation as techniques to highlight and stimulate active participant involvement. These techniques blend in embodied film theory (Sobchack, 1982), highlighting how the intentionality of the camera emphasises each participant’s awareness of their physical engagement and subsequent agential action within interactive video installation

Exploring the Hypervisibility Paradox: Older Lesbians in Contemporary Mainstream Cinema (1995-2009)

This thesis explores the intersection of age, gender and sexuality in representations of older lesbian characters in contemporary narrative film. Taking the 1990s as a benchmark of lesbian visibility, I explore the turn of the century representability by focusing on British and American film (1995 to 2009). I identify a hypervisibility paradox during this period of cinematic production where the presence of a multitude of young lesbian and bisexual characters can be seen to be in complete contrast with the invisibility of the older lesbian. Mainstream postfeminist culture censors the ageing female body, except in its ‘successfully aged’, youthful, heterosexualised form. Older lesbian characters are excluded from this frame of visibility and, instead, are represented through paradigms associated with the concept of ‘ageing as decline.’ There is little in existing age studies or lesbian film studies to articulate an understanding of the intersection of age, gender and sexuality in cinematic representation. I adopt an interdisciplinary cultural studies approach to make my contribution in what is an under-researched area and present a multifaceted approach to a complex cultural image. I investigate the continuity of the concept of the lesbian as ghostly (Castle, 1993) through narratives of illness, death and mourning. I argue that the narrative of ‘ageing as decline’ stands in for the process of ‘killing off’ lesbian characters (identified in 1960s and 1970s cinema). The intersection of the identity old with lesbian thus results in a double ghosting and ‘disappearance’ of the older lesbian character. Regarding Notes on a Scandal (Eyre, 2006), I pursue two particular readings. One emphasises the return of the lesbian as monstrous based on the construction of ageing and lesbian desire as abject (Kristeva, 1982). A second reading moves beyond the monstrous lesbian as a ‘negative’ stereotype and identifies the protagonist as a queer character who subverts heteronormativity. Finally, I turn to oppositional reading practices in order to optimise the possibilities of identifications across mainstream film texts. Based on Judi Dench’s various transgressive film roles, her role as M in the Bond franchise in particular, I explore this actress’ subversive potential to represent the older lesbian. I conclude that despite mainstream cinema’s hypervisibility paradox, characters who transgress age, gender and sexuality norms can provide opportunities for lesbian identification

24th International Conference on Information Modelling and Knowledge Bases

In the last three decades information modelling and knowledge bases have become essentially important subjects not only in academic communities related to information systems and computer science but also in the business area where information technology is applied. The series of European – Japanese Conference on Information Modelling and Knowledge Bases (EJC) originally started as a co-operation initiative between Japan and Finland in 1982. The practical operations were then organised by professor Ohsuga in Japan and professors Hannu Kangassalo and Hannu Jaakkola in Finland (Nordic countries). Geographical scope has expanded to cover Europe and also other countries. Workshop characteristic - discussion, enough time for presentations and limited number of participants (50) / papers (30) - is typical for the conference. Suggested topics include, but are not limited to: 1. Conceptual modelling: Modelling and specification languages; Domain-specific conceptual modelling; Concepts, concept theories and ontologies; Conceptual modelling of large and heterogeneous systems; Conceptual modelling of spatial, temporal and biological data; Methods for developing, validating and communicating conceptual models. 2. Knowledge and information modelling and discovery: Knowledge discovery, knowledge representation and knowledge management; Advanced data mining and analysis methods; Conceptions of knowledge and information; Modelling information requirements; Intelligent information systems; Information recognition and information modelling. 3. Linguistic modelling: Models of HCI; Information delivery to users; Intelligent informal querying; Linguistic foundation of information and knowledge; Fuzzy linguistic models; Philosophical and linguistic foundations of conceptual models. 4. Cross-cultural communication and social computing: Cross-cultural support systems; Integration, evolution and migration of systems; Collaborative societies; Multicultural web-based software systems; Intercultural collaboration and support systems; Social computing, behavioral modeling and prediction. 5. Environmental modelling and engineering: Environmental information systems (architecture); Spatial, temporal and observational information systems; Large-scale environmental systems; Collaborative knowledge base systems; Agent concepts and conceptualisation; Hazard prediction, prevention and steering systems. 6. Multimedia data modelling and systems: Modelling multimedia information and knowledge; Contentbased multimedia data management; Content-based multimedia retrieval; Privacy and context enhancing technologies; Semantics and pragmatics of multimedia data; Metadata for multimedia information systems. Overall we received 56 submissions. After careful evaluation, 16 papers have been selected as long paper, 17 papers as short papers, 5 papers as position papers, and 3 papers for presentation of perspective challenges. We thank all colleagues for their support of this issue of the EJC conference, especially the program committee, the organising committee, and the programme coordination team. The long and the short papers presented in the conference are revised after the conference and published in the Series of “Frontiers in Artificial Intelligence” by IOS Press (Amsterdam). The books “Information Modelling and Knowledge Bases” are edited by the Editing Committee of the conference. We believe that the conference will be productive and fruitful in the advance of research and application of information modelling and knowledge bases. Bernhard Thalheim Hannu Jaakkola Yasushi Kiyok

Pratiques culturelles d'élèves de la troisième secondaire dans le cyberespace : jonctions avec la classe d'art

Puisque le programme de formation des élèves du Québec invite les enseignants à recourir à la culture des jeunes comme pivot, et que ces derniers sont au cœur de la révolution numérique, il apparaissait essentiel de conduire une recherche visant à générer une connaissance actualisée en regard des pratiques culturelles d'adolescents québécois dans le cyberespace. Ayant pour objectif final le développement d'une pédagogie artistique adaptée à la culture et aux pratiques culturelles des jeunes, cette recherche porte également sur les jonctions unissant les cyberpratiques des participants à leurs pratiques artistiques à l'école. Pour atteindre cet objectif et répondre à nos questions de recherche, nous avons eu recours à un design méthodologique englobant diverses opérations et méthodes de recherches qualitatives. Les opérations sollicitées pour la collecte des données sont : l'entrevue de groupe de discussion, l'écranographie et l'entrevue d'explicitation de captures d'écrans. L'écranographie a permis aux participants de créer un inventaire visuel de leurs cyberpratiques. Grâce à l'entrevue d'explicitations, s'appuyant sur un questionnaire semi-directif, les participants se sont exprimés autour des images qu'ils ont glanées dans le cyberespace. En ce qui a trait à l'analyse des données, celle-ci s'appuie principalement sur l'analyse thématique continue. Le travail de codage et d'analyse a permis de générer une étude de cas multiple ainsi qu'un chapitre portant sur l'entrevue de groupe. Toutefois, à cette strate d'analyse liée à l'induction typique, s'en est ajoutée une deuxième, laquelle repose sur l'induction modérée. En effet, ce type d'analyse a permis, dans le sixième chapitre, de sonder nos données à la lumière de grilles d'analyse. Tout d'abord, les résultats de cette recherche sont présentés via l'analyse interprétative d'une entrevue de groupe. Celle-ci expose les divers sujets traités par les participants, dont la dissolution de frontières, le réseautage, l'accès instantané et la communication. Les jeunes participants ont exprimé une conception de la cyberculture qui, tout en favorisant la dissolution de frontières, est centrée sur les dimensions communicationnelles de leurs cyberpratiques. De plus, certains adolescents ont mis en saillie l'enrichissement culturel qui résulte de la fréquentation du cyberespace. Tandis que l'entrevue de groupe propose « d'entendre », de manière globale, les paroles des participants en regard de leurs cyberpratiques, l'étude de cas multiple présente le portrait détaillé de trois adolescents de manière individuelle. Ces cas, où sont analysées les différentes actions qui composent les pratiques culturelles, montrent une diversité d'intérêts allant de la littérature fantastique au téléchargement, en passant par la diffusion d'une production visuelle sur divers médias sociaux. Le chapitre multicas, portrait des pratiques culturelles des douze participants, consiste en une analyse croisée des entrevues individuelles et de l'entrevue de groupe. Ce chapitre a révélé la prépondérance de la communication et du recours à diverses ruses visant à contourner certaines règles. En outre, ce chapitre dévoile que les participants activent diverses habiletés liées à la culture de la participation, dont le jeu, la navigation transmédia et l'appropriation. Un schéma, celui de la rose des vents, a permis de situer l'ensemble des participants par rapport aux notions d'acteurs/spectateurs et de relation/exploration. La pratique culturelle sur Internet de la moitié des jeunes est surtout liée à la poursuite d'un intérêt, alors que l'autre moitié est davantage centrée sur la dimension relationnelle. De plus, à l'exception de trois participants, la plupart des adolescents interrogés possèdent une pratique culturelle axée sur la réception active de signes. En ce qui a trait aux jonctions entre les cyberpratiques des participants et leurs pratiques artistiques à l'école, cette recherche révèle entre autres choses l'importance des moteurs de recherche et des logiciels de traitement de l'image rendant possible l'appropriation, le bricolage, la stimulation de l'imaginaire ainsi que l'exploration visuelle et identitaire. De plus, la représentation de l'espace, dans les jeux vidéo, peut aussi servir d'inspiration. Cette recherche expose la possible migration, vers les réseaux sociaux, du processus de création et de productions visuelles liés au cours d'art. Enfin, ajoutons que les diverses jonctions explicitées par les jeunes sont tributaires de leur conception de l'art : moderniste ou postmoderniste.\ud ______________________________________________________________________________ \ud MOTS-CLÉS DE L’AUTEUR : pratique culturelle, cyberespace, adolescence, enseignement des arts, entrevues d'explicitation de captures d'écrans, étude de cas multiple