Using a case study approach, this investigation focused on the deliberations and decision-making processes involved in the development of a physical science curriculum to be delivered by interactive videodiscs. The mediating factors that influenced the developmental processes included the participants and their perceptions, their decisions and factors influencing their decisions. The Curriculum and Instruction Advisory Committee of the Texas Learning Technology Group was selected as the subject of this study which used qualitative data collection methods. Data collection included participant observation of curriculum meetings followed by structured interviews of the participants. Document analyses were triangulated with the observations and interviews to ascertain influences on decision-making processes. Developmental processes indicated the emergence of staff and committee procedures. Procedures were influenced by school district and personal philosophies, teacher and student needs, and constraining factors such as state Developmental processes indicated the emergence of staff and committee procedures. Procedures were influenced by school district and personal philosophies, teacher and student needs, and constraining factors such as state mandates. Other influencing factors included research, tradition, and politics. Core curriculum was to be delivered by interactive videodiscs and include remediation and enrichment loops along with laboratory simulations. Participants stressed that students perform traditional laboratory experiments in addition to simulations. This curriculum also addressed the possibility of the course being taught by teachers not certified in physical science.

Grandy's Country Cookin' Inc. is a chain of restaurants specializing in fried chicken dinners. standardized instructional films were needed to teach employees Grandy's operational procedures. The producer was commissioned to make five films to provide visual job descriptions for new employees and managers. These fast-paced films depict actual job situations: "Chicken Cutting," "Breakfast Preparation," "Customer Relations," "System of Operation," and "Drive-Thru Relations," "System of Operation," and "Drive-Thru Service." An accompanying production book describes the making of Grandy's Training. The book examines the background against which the project was proposed, details the problems and procedures of production, and describes the experience of dealing with a client at a professional level.

This diploma thesis discusses modern myths that appear in the selected audiovisual commercials. The commercials are part of the advertising campaign for a Galaxy Note 3 device produced by Samsung Company. The campaign was launched in the fall of 2013 and continued through the spring 2014. As Samsung is also one of the official partners of the Winter Olympic Games in Sochi, some of the analyzed content is dedicated to the relationship between the two. Semiotics and marketing communication provide a broad theoretical framework for the later semiotic analysis. The chapter on semiotics discusses the modern perspective on the sign theory, offering Ferdinand de Saussure's and Charles Sanders Peirce's points of view. The main focus of the thesis is, however, on the process of the so-called secondary signification and modern myths creation introduced by Roland Barthes in his Mythologies. The marketing communication chapter then introduces several theoretical starting points in the field, various marketing models, and the communication mix with the focus on advertising, its components and potential psychological effects. In the final part, selected commercials are introduced along with the plot description and a semiotic analysis of the environment, characters, individual elements, images, colors and the...

D.Ed. (Didactics) / Please refer to full text to view abstract

Esta pesquisa trata dos elementos de linguagem do Design Audiovisual, pensados como um sistema de signos auditivos, visuais e verbais, simultaneamente transmitidos, enfatizando suas relações e composição transversal no tempo e espaço. Como disciplina nova do Design, o Design Audiovisual nasce do cinema, se desenvolve com a televisão, incorpora os elementos do Design Gráfico e se aperfeiçoa com a informática, tendo seu processo agilizado pela da tecnologia digital emergente pós anos 1990. A evolução da tecnologia de pré-produção, produção e pós-produção nos meios audiovisuais, mais especificamente no cinema, e a crescente possibilidade da criação de um design audiovisual digital complexo, levou-nos a discutir e constatar a necessidade de um modelo para demonstrar esta pluralidade de elementos, frágeis e imprevisíveis, como bolhas de uma espuma. Para tanto, foi proposto o Modelo da Espuma Audiovisual. A tese fundamenta-se, principalmente, na teoria de Lucia Santaella, em Matrizes da linguagem e pensamento, que forneceu ferramentas para a análise destas relações; e do filósofo alemão Peter Sloterdijk, que suportou a proposta do Modelo da Espuma pelo seu caráter metafórico, sistêmico e complexo. Como procedimento empírico, foram realizados estudos de caso de Design Audiovisual de Créditos de Abertura de filmes e, ao final do processo, desenvolveu-se o projeto experimental do Modelo da Espuma Audiovisual, que se transformou em uma Instalação 3D Imersiva, denominada \"Paixão e Violência\". Visa contribuir para a formação ou atualização de designers inseridos no início de século XXI, em meio ao cenário contemporâneo, por isso seu caráter abrangente. Os resultados esclarecem sobre as características dos elementos de linguagem do Design Audiovisual, não apenas como elementos \"emprestados\" de outras linguagens, mas portadores de identidade própria, híbrida, complexa, frágil e única. / This research deals with Audiovisual Design language elements, elaborated as an audio/visual/verbal system that simultaneously transmits all its elements, emphasizing their relationship and their transversal composition in time and space. Originally from Cinema, Audiovisual Design originate a new discipline in Design, develops along with Television, feeds from Graphic Design elements and improves with Informatics; it has its own process expedited by emergent digital technology post-1990. The evolution of pre-production, production and post-production in audiovisual mediums, more precisely in Cinema, plus an expanding perspective of creating more complex digital Audiovisual Design, leads us to a discussion yp identify the need of a model that would be able to demonstrate the plurality of these frail, unpredictable, \"bubbles in the foam\"-like elements. That was the beginning of the Audiovisual Foam Model thesis. The thesis fundaments come mainly from Lucia Santaella\'s theories of Language and Thinking Matrix, which are tools for understanding the mentioned relationships; and from the Dutch philosopher Peter Sloterdijk\'s work, that supported the Foam Model because of its metaphoric, systemic and complex character. As an empiric procedure, some study cases were made based on Audiovisual Design of Open Titles, and by the end of this process an experimental Project of the Audiovisual Foam Model was developed, leading to a 3D Immersive Installation named \"Passion and Violence\". This research aims to contribute to the academic formation and updating of designers in beginning of the XXI century, in the middle of its contemporary scenario, and to presents a comprehensive approach. The results brings about a clearer vision of the language elements of the Audiovisual Design, not only as \"borrowed\" elements from other disciplines but also as unique, hybrid, complexes elements on their own identity.

O objetivo desta dissertação é realizar uma revisão crítica da primeira década do Museu da Imagem e do Som de São Paulo (MIS). Criado em 1970, foi um dos primeiros museus do Brasil a dedicar-se à produção e preservação de material audiovisual reprodutível. O projeto museológico idealizado para o MIS, baseado na formação de um acervo documental e na difusão de novas mídias, será apresentado e discutido. O intuito é avaliar em que medida as diretrizes iniciais do museu, que surge em plena ditadura militar, foram postas em prática durante a gestão de seu primeiro diretor, Rudá de Andrade (1970 - 1980). Parte-se da hipótese de que apesar das diversas mudanças de sede, das dificuldades orçamentárias e de um quadro de funcionários reduzido, o MIS consolidou um espaço pioneiro e experimental, voltado para a produção e difusão de conteúdo e conhecimento e desenvolveu uma programação coerente com o projeto redigido em sua criação. Foram consultadas distintas fontes, muitas delas tornadas públicas por meio desta pesquisa. Espera-se com esta dissertação contribuir para o estudo dos museus e das políticas públicas na área da cultura desenvolvidas no Estado de São Paulo na segunda metade do século XX. / This dissertation aims to build a critical review of the first decade of the Museum of Image and Sound (MIS) of São Paulo. Created in 1970, it was one of the first museums in Brazil dedicated to the production and preservation of reproducible audio-visual material at the time. The museological project conceived for MIS, which is presented and discussed here, intends to establish a documentary archive and broaden new media awareness. The aim is to analyse the extent to which the initial guidelines of the museum, which emerged during the military dictatorship, were put into practice during the management of its first director, Rudá de Andrade (1970 - 1980). It is assumed that despite the various changes in headquarters, budgetary difficulties and a reduced staff, MIS consolidated a pioneering and experimental venue focused on the production and dissemination of content and knowledge, and developed a program in accordance with its foundational project. Several sources were consulted, many of them made public through this research. This dissertation is expected to contribute to the study of museums and public cultural policies in the State of São Paulo in the second half of the twentieth century.

Ce travail porte sur la synthèse de la parole audio-visuelle. Dans la littérature disponible dans ce domaine, la plupart des approches traite le problème en le divisant en deux problèmes de synthèse. Le premier est la synthèse de la parole acoustique et l'autre étant la génération d'animation faciale correspondante. Mais, cela ne garantit pas une parfaite synchronisation et cohérence de la parole audio-visuelle. Pour pallier implicitement l'inconvénient ci-dessus, nous avons proposé une approche de synthèse de la parole acoustique-visuelle par la sélection naturelle des unités synchrones bimodales. La synthèse est basée sur le modèle de sélection d'unité classique. L'idée principale derrière cette technique de synthèse est de garder l'association naturelle entre la modalité acoustique et visuelle intacte. Nous décrivons la technique d'acquisition de corpus audio-visuelle et la préparation de la base de données pour notre système. Nous présentons une vue d'ensemble de notre système et nous détaillons les différents aspects de la sélection d'unités bimodales qui ont besoin d'être optimisées pour une bonne synthèse. L'objectif principal de ce travail est de synthétiser la dynamique de la parole plutôt qu'une tête parlante complète. Nous décrivons les caractéristiques visuelles cibles que nous avons conçues. Nous avons ensuite présenté un algorithme de pondération de la fonction cible. Cet algorithme que nous avons développé effectue une pondération de la fonction cible et l'élimination de fonctionnalités redondantes de manière itérative. Elle est basée sur la comparaison des classements de coûts cible et en se basant sur une distance calculée à partir des signaux de parole acoustiques et visuels dans le corpus. Enfin, nous présentons l'évaluation perceptive et subjective du système de synthèse final. Les résultats montrent que nous avons atteint l'objectif de synthétiser la dynamique de la parole raisonnablement bien / This work deals with audio-visual speech synthesis. In the vast literature available in this direction, many of the approaches deal with it by dividing it into two synthesis problems. One of it is acoustic speech synthesis and the other being the generation of corresponding facial animation. But, this does not guarantee a perfectly synchronous and coherent audio-visual speech. To overcome the above drawback implicitly, we proposed a different approach of acoustic-visual speech synthesis by the selection of naturally synchronous bimodal units. The synthesis is based on the classical unit selection paradigm. The main idea behind this synthesis technique is to keep the natural association between the acoustic and visual modality intact. We describe the audio-visual corpus acquisition technique and database preparation for our system. We present an overview of our system and detail the various aspects of bimodal unit selection that need to be optimized for good synthesis. The main focus of this work is to synthesize the speech dynamics well rather than a comprehensive talking head. We describe the visual target features that we designed. We subsequently present an algorithm for target feature weighting. This algorithm that we developed performs target feature weighting and redundant feature elimination iteratively. This is based on the comparison of target cost based ranking and a distance calculated based on the acoustic and visual speech signals of units in the corpus. Finally, we present the perceptual and subjective evaluation of the final synthesis system. The results show that we have achieved the goal of synthesizing the speech dynamics reasonably well

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2015-05-08T13:23:07Z No. of bitstreams: 1 Sonia Montaño.pdf: 4244321 bytes, checksum: a876e8c9635bed8d999c03d9b8dd5712 (MD5) / Made available in DSpace on 2015-05-08T13:23:07Z (GMT). No. of bitstreams: 1 Sonia Montaño.pdf: 4244321 bytes, checksum: a876e8c9635bed8d999c03d9b8dd5712 (MD5) Previous issue date: 2012-05-30 / Associação Porticus / PROLIC - Pró-Licenciatura / Esta tese aborda o audiovisual contemporâneo que passa pelas plataformas de vídeo YouTube e Justin TV e, em seu percurso, vai realizando uma ecologia do audiovisual da web, entendendo-o como meio. O conceito de ecologia construído nesta tese parte de autores como McLuhan, Benjamin, Bergson e Latour, entre outros. Durante o encontro do princípio ecológico com os materiais audiovisuais em questão, vai se formando uma imagem dialética do audiovisual da web. Isto é, formam-se constelações que imobilizam esse audiovisual na sua duração e dão a ver sua áudiovisualidade atualizada no conjunto: vídeos, interfaces, usos e ambientes. A ecologia aponta para o banco de dados como a ontologia da contemporaneidade. Não só vídeos e usuários se tornam bancos de dados nas interfaces audiovisuais da web. Eles fazem parte de um ambiente, o dispositivo contemporâneo, dotado de urgência por trânsito e por conectividade, que cria outros dispositivos dos quais emerge um audiovisual - cuja característica mais destacada é seu valor de uso e cujos efeitos mais apontados nesta tese são a audiovisualização da cultura e a softwarização do audiovisual. / This thesis addresses the contemporary audiovisual that passes through the video platforms YouTube and Justin TV and, throughout the route, performs an ecology of the audiovisual on the web, regarding this as a medium. The concept of ecology built in this thesis comes from authors such as McLuhan, Benjamin, Bergson and Latour, among others. A dialectical image of the audio-visual on the web is formed during the meeting of the ecological principle with the audiovisual materials under consideration. That is, a set of constellations that immobilize such audio-visual in its duration and enable to see its audiovisuality expressed in the whole: videos, interfaces, uses and environments. The ecology points to the database as the ontology of contemporariness. Not only videos and users become databases in the web’s audiovisual interfaces: they are part of an environment, the contemporary device, provided with urgency for transit and connectivity. This creates other devices from whichan audio-visual emerges. Its most notable characteristic is its use value and its most noticed effect in this thesis is the audio visualization of the culture and the softwarization of the audio-visual.

Made available in DSpace on 2016-04-26T18:13:15Z (GMT). No. of bitstreams: 1 Romilson Marco dos Santos.pdf: 3252190 bytes, checksum: 7ed035e36a1ff0d634388def1182dda0 (MD5) Previous issue date: 2013-08-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The object of study is primetime soap operas and the transformations that define it, with the objective of establishing a relationship with the individual, the viewer. The study is conducted on the analysis of the soap operas narrative structure, their modifications, and finally, the consequences were established because of them. The beginning of this analysis, is the year 1964. We will therefore work, with a selection of daily soap operas such which have occurred since that date. The research problem focuses on the relationship established between changes in the narrative structure, its own visual soap opera language and the viewers' participation. Therefore we list the following assumptions: 1.Durring the soap operas actors do not interpret any character, but recreate the acts and circumstances occurring in everyday social life simulated by the plots, which allows us to affirm that the soap opera is life itself, and durring some time, the fictional game turns into life real.2. translation society by soap operas reaferms the traditional and conservative perception of Brazilian society. 3. the combination of mediation and its settings, where one comes to the generation of a visual language which constitutes the basis for the projection of social and drawings, as a consequence, to identify the way that society is allowed to see and / or be presented . The methodological basis of this research is based on the survey, selection, justification and comparative analysis of narrative structures and interference of the visability as a frame narrative structure itself. The most important area of this methodological strategy involves the comparison of the configuration processes and their communication trends in order to rescue a possible evolution of the enunciation of the outline of the Brazilian society. The theoretical basis is based on studies of Lucrece Ferrara, Roland Barthes, Mikhail Bakhtin, Charles Sanders Peirce: authors responsible for concepts such as interaction, analysis of narrative structure, author, character and semiosis / O objeto de estudo é a telenovela do horário nobre e as transformações que a definem, tendo em vista a relação que estabelece com o indivíduo que a assiste, o telespectador. O estudo se desenvolve sobre a análise da estrutura narrativa das telenovelas, suas modificações e, por fim, as conseqüências que se estabeleceram a partir delas. Demarcamos, como início desta análise, o ano de 1964.Trabalharemos, portanto, com uma seleção das telenovelas diárias tal qual ocorrem desde aquela data. O problema de pesquisa concentra-se na relação que se estabelece entre as transformações da estrutura narrativa, a linguagem visual própria da telenovela e a participação do telespectador. Para tanto elencamos as seguintes hipóteses: 1.na telenovela, os atores não interpretam nenhum personagem, mas recriam atos e circunstâncias ocorridas no cotidiano social simulado pelas tramas, o que permite afirmar que a telenovela representa a própria vida e, por certo tempo, o jogo ficcional se transforma em vida real.2. a tradução da sociedade pelas telenovelas resgata uma tradicional e conservadora percepção da sociedade brasileira. 3.da combinação entre mediações e suas configurações, chega-se à geração de uma linguagem onde o visual constitui base para a projeção de desenhos sociais e, como conseqüência, para a identificação do modo como aquela sociedade se deixa ver e/ou ser apresentada. A base metodológica da pesquisa se apóia no levantamento, seleção, justificativa e análise comparativa das estruturas narrativas e a interferência da visualidade como moldura da própria estrutura narrativa. O eixo mais importante dessa estratégia metodológica contempla a comparação dos processos de configuração e suas tendências comunicativas, tendo em vista resgatar uma possível evolução daqueles desenhos enunciativos da sociedade brasileira. A base teórica se fundamenta nos estudos de Lucrécia Ferrara, Roland Barthes, Mikhail Bakhtin, Charles Sanders Peirce: autores responsáveis por conceitos como interação, análise da estrutura narrativa, autor , personagem e semiose

Submitted by Programa de Pós-Graduação em Mídia e Cotidiano (ppgmc@vm.uff.br) on 2017-08-25T13:13:59Z No. of bitstreams: 1 Protagonismo Juvenil um estudo a partir da série Mi país, nuestro mundo.pdf: 1168911 bytes, checksum: d526c944b265743b0232a4d25b27898b (MD5) / Approved for entry into archive by Jussara Moore (jussaramoore@id.uff.br) on 2017-08-30T16:37:48Z (GMT) No. of bitstreams: 1 Protagonismo Juvenil um estudo a partir da série Mi país, nuestro mundo.pdf: 1168911 bytes, checksum: d526c944b265743b0232a4d25b27898b (MD5) / Made available in DSpace on 2017-08-30T16:37:48Z (GMT). No. of bitstreams: 1 Protagonismo Juvenil um estudo a partir da série Mi país, nuestro mundo.pdf: 1168911 bytes, checksum: d526c944b265743b0232a4d25b27898b (MD5) Previous issue date: 2017-05-22 / Este trabalho tem por objetivo problematizar o protagonismo juvenil em uma produção audiovisual focada em problemas ambientais locais. O objeto estudado compreende os vídeos da série Mi país, Nuestro Mundo, da TAL.TV, produzidos em 2012, na América Latina, constituída por 36 curtas, com aproximadamente 13 minutos de duração cada. A pesquisa analisa a participação de jovens na produção e realização destes documentários concebidos a partir de discussões e projetos ligados ao meio ambiente em nove países da América Latina: Argentina, Bolívia, Brasil, Colômbia, Equador, México, Paraguai, Uruguai e Venezuela. Busca-se discutir como é a produção desses documentários que mostram esses jovens investigando problemas, realizando ações e buscando soluções para as situações encontradas em suas regiões, em uma abordagem atravessada pelas demandas cotidianas / This work aims to problematize the youth protagonism in an audiovisual production focused on local environmental problems. The object studied comprises the videos of the series Mi país, Nuestro Mundo, from TAL.TV, produced in 2012, in Latin America, consisting of 36 short films, each approximately 13 minutes long. The research analyzes the participation of young people in the production and realization of these documentaries conceived from discussions and projects related to the environment in nine Latin American countries: Argentina, Bolivia, Brazil, Colombia, Ecuador, Mexico, Paraguay, Uruguay and Venezuela. We will discuss how the production of these documentaries shows these youngsters investigating problems, performing actions and seeking solutions to the situations found in their regions, in an approach crossed by the daily demands