Submitted by CARLA VITAL (carlaakroma@gmail.com) on 2018-07-10T18:33:49Z No. of bitstreams: 1 Dissertação Final Carla__ Imprimir.pdf: 8680588 bytes, checksum: 8e8dde699a21ab79389c2e5a16f464d2 (MD5) / Rejected by Adriana Aparecida Puerta null (dripuerta@rc.unesp.br), reason: Prezada Carla, O documento enviado para a coleção Unesp Rio Claro foi recusado pelo(s) seguinte(s) motivo(s): - Falta a capa (Elemento obrigatório) - Falta a página de rosto (Elemento obrigatório) Em caso de dúvidas entre em contato pelo email repositoriounesp@reitoria.unesp.br. Agradecemos a compreensão e aguardamos o envio do novo arquivo. 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Aguardamos o envio do novo arquivo. on 2018-07-12T11:55:42Z (GMT) / Submitted by CARLA VITAL (carlaakroma@gmail.com) on 2018-07-12T12:12:16Z No. of bitstreams: 1 Dissertação Carla Vital Final (1).pdf: 4202167 bytes, checksum: 287a631dfee0a5f6709631799d893955 (MD5) / Approved for entry into archive by Adriana Aparecida Puerta null (dripuerta@rc.unesp.br) on 2018-07-12T17:54:45Z (GMT) No. of bitstreams: 1 vital_c_me_rcla.pdf: 4202167 bytes, checksum: 287a631dfee0a5f6709631799d893955 (MD5) / Made available in DSpace on 2018-07-12T17:54:45Z (GMT). No. of bitstreams: 1 vital_c_me_rcla.pdf: 4202167 bytes, checksum: 287a631dfee0a5f6709631799d893955 (MD5) Previous issue date: 2018-06-15 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta dissertação busca investigar o processo de produção de Performances Matemáticas Digitais (PMD) com o auxílio do software GeoGebra em ambientes educacionais voltados à formação de estudantes e professores de Matemática. Especificamente, o objetivo é investigar o papel das Artes e das tecnologias digitais na comunicação de ideias matemáticas. Dessa maneira, a pergunta que norteou essa pesquisa foi: Como estudantes de Matemática produzem PMD sobre Geometria considerando o uso do software GeoGebra? PMD concerne no uso das Artes e das tecnologias digitais em Educação Matemática, com o objetivo de compartilhar ideias matemáticas de uma maneira alternativa. O GeoGebra é um software livre e possui muito prestígio no ensino e aprendizagem de Matemática, pois ele possibilita a exploração de aspectos como a visualização e experimentação com tecnologias. Com o intuito de investigar interpretativamente tais aspectos envolvendo a produção de PMD, esta pesquisa é de natureza qualitativa. Os dados foram produzidos por meio da realização de um curso de extensão universitária de 18 horas sobre Geometria que envolveu a produção de PMD e o uso do software GeoGebra. Este foi ministrado na Universidade Estadual Paulista “Júlio de Mesquita Filho” (UNESP), Campus de Rio Claro. Durante os encontros os estudantes e professores de Matemática criaram três tipos de PMD: Graphics Interchange Format (GIFs), música e clipe. As ideias matemáticas comunicadas tiveram origem em uma atividade sobre um triângulo equilátero e outra sobre um tetraedro regular. Os registos dos dados foram feitos por meio do diário de campo e consideraram-se como dados as PMD, as filmagens das seções do curso, gravações das telas e dos áudios dos computadores dos participantes, interações em um grupo no Facebook e as anotações dos cursistas nas atividades impressas. A análise dos dados explora aspectos artísticos, tecnológicos e matemáticos desenvolvidos durante o curso e no processo de produção PMD. Os resultados mostram que a criação de PMD pode ser uma possibilidade para o ensino de Matemática destacando-se, principalmente, fatores artísticos e os coletivos pensantes a respeito do processo de pensar-com-PMD. Podendo transmitir emoções para os espectadores dessas PMD. / This work aims to investig ate the production process of Digital Mathematical Performances ( DMP ) with the use of GeoGebra software in educational environments aimed at the training of students and teachers of Mathematics. Specifically, the objective is to investigate the role of the Arts and Digital Technologies in the communication of mathematical ideas. Thus, th e question that guided this research was: h ow do math students develop DMP about Geometry considering the use of GeoGebra software? DMP refers to the use of the Digital Arts and Technologies in Mathematics Education, aiming to share mathematical ideas in a n innovative way. GeoGebra is a free software and has educational prestige in the teaching and learning of mathematics, as it enables the exploration of aspects such as visualization and experimentation with technologies. In order to investigate such aspec ts involving the production of DMP , this research is quali tative in nature. The data were produced through the accomplishment of a 18 - hours knowledge mobilization course about Geometry that involved t he production of DMP and the use of GeoGebra software. I t was taught at Sao Paulo State Univ ersity “Júlio de Mesquita Filho” (UNESP), Campus of Rio Claro. During the sessions , the students and teachers of Mathematics created three types of DMP : Graphics Interchange Format ( GIF ), music and video clip. The mathem atical ideas communicated had originated in an activity on an equilateral triangle and another on a regular tet rahedron. The data records were made by means of field diaries, the produced DMP , video recordings of the sessions , videotape of the participants' computer screens, interactions in a Facebook group , and notes of the participants in the acti vities were considered as data printed. The data analysis explores artistic, technological and mathematical aspects present during the course develop ment and the DMP . The results show that creation of DMP can be a possibility for the teaching of mathematics emphasizing, mainly, artistic factors and the collective thinkin g about the process of thinking - with - DMP . It can convey emotions to the audience of these DMP . / CAPES: 1607542.

Communication is part of our everyday life. We speak, we write, we move our bodies and faces in ways to express a feeling or deliver a message. Technology has made it more convenient to communicate with the people in our network, thus has made it harder for us to show the non-verbal signals that we express in our physical interactions. The development of new technology has proved that there is an interest in communicating more transparently and clearly. This study aims to discover patterns and loopholes in the rise of the GIF phenomena via Facebook Messenger. A picture format that has emerged from remix and popular culture which allows users to easily send, receive, upload and experience the short animations. There are different GIF genres but this study focuses on reactive and highlight GIFs since their intention is to deliver an emotional response with the help of non-verbal signals that it contains. There is a saying: “a picture is worth a thousand words” but can a thousand words really be described by an image sequence? In this research, a qualitative analysis has been made for a deeper understanding of the use of GIF and its context in our social interactions online. By interviewing different types of GIF users, we will get a valuable insight on the patterns that have been identified for the purpose of this study. Which can be of great interest for future research concerning responsive and emotion-based communication on social media.

Combining psychology literature, social media platforms and collaboration with online communities, this visual communication project explores the experiences and struggles of people that have grown up in dysfunctional households. The intent of this project is to share stories from people who struggle with feeling mentally stuck, in order to fight the stigma surrounding mental health related issues.

[ES] Esta tesis se centra en las posibilidades expresivas del GIF y la influencia del arte óptico, que a través de una serie de prácticas artísticas, revelan una selección de efectos ilusorios capaces de afectar la percepción visual. Esta tesis estudia el uso de efectos ópticos que alteran la visión de GIF para enfatizar su poder expresivo lejos de su abstracción habitual utilizando la combinación de la expresión narrativa de la ilustración, modificando el uso actual del formato digital característico utilizado para este propósito. Las leyes de percepción y los efectos ilusorios a partir de los cuales enfocamos el estudio perceptivo, tienen como objetivo crear un nuevo entorno comunicativo poderoso en movimiento gracias al uso de herramientas digitales esenciales, que crean un nuevo ámbito de expresión en la era de las tecnologías. La hipótesis que surge en este estudio es si el uso característico del formato GIF y su unión con el arte óptico, puede mejorar el mensaje expresivo visual y narrativo de la ilustración actual al eliminar el marco social constitutivo del GIF. / [EN] This thesis is an investigation about the expressive possibilities of GIF and the influence of optical art , which through a series of artistic practices, they reveal a selection of illusory effects capable of affecting visual perception. This thesis studies the use of optical effects altering the vision of GIF to emphasize its expressive power far from its usual abstraction using the combination of the narrative expression of the illustration, modifying current use of the characteristic digital format used for this purpose. The laws of perception and illusory effects from which we focus perceptual study, aim to create a new powerful communicative environment in motion thanks to the use of essential digital tools, which create a new scope of expression in the era of technologies. The hypothesis that arises in this study is whether the characteristic use of the GIF format and its union with optical art, can enhance the visual and narrative expressive message of the current illustration by eliminating the constitutive social framework of GIF. / [CA] Aquesta tesi és una investigació sobre les possibilitats expressives de l'GIF i la influència de l'art òptic, que a través d'una sèrie de pràctiques artístiques, revelen una selecció d'efectes il·lusoris capaços d'afectar la percepció visual. Aquesta tesi estudia l'ús d'efectes òptics que alteren la visió de GIF per emfatitzar el seu poder expressiu lluny de la seva abstracció habitual utilitzant la combinació de l'expressió narrativa de la il·lustració, modificant l'ús actual de l'format digital característic utilitzat per aquest propòsit. Les lleis de percepció i els efectes il·lusoris a partir dels quals enfoquem l'estudi perceptiu, tenen com a objectiu crear un nou entorn comunicatiu poderós en moviment gràcies a l'ús d'eines digitals essencials, que creen un nou àmbit d'expressió en l'era de les tecnologies . La hipòtesi que sorgeix en aquest estudi és si l'ús característic de el format GIF i la seva unió amb l'art òptic, pot millorar el missatge expressiu visual i narratiu de la il·lustració actual a l'eliminar el marc social constitutiu de l'GIF. / Vergara Sánchez, E. (2020). Arte cinético-óptico a través del GIF ilustrado [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/149476

Thesis (MA (Visual Arts)) -- University of Stellenbosch, 1997 / 168 leaves printed single pages,preliminary pages and numberd pages 1-70.Includes bibliography and 115 illustrations.Digitized at 600 dpi grayscale to pdf format (OCR),using an Bizhub 250 Konica Minolta Scanner. / ENGLISH ABSTRACT: This study considers the history and problematics of the contemporary comic strip, particularly in regard to issues of controversy and iconoclasm. Special attention is paid to the local magazine, Bitterkomix as an example. In Chapter One, the comic medium is identified and discussed as a homogeneous art form. Its independence from both fine arts and literature is explained and the identifying, intrinsic characteristics of the medium are used as a basis for the analysis of form and meaning in selected contemporary comics. Chapter Two provides a brief history of iconoclasm, subversion and controversy surrounding selected comics from the 1950's up to the present. The emphasis is placed on pivotal developments in the medium, particularly in the United States. A link is suggested between the post-war affluence of the American society and the conservative values which underpin it. Because of the many similarities which exist between the value systems of white South Africa and those of the more conservative states of the U.S., a contextual parallel is mooted which identifies the development and impact of controversial comics abroad and the reception which Bitterkomix encountered in South Africa. Chapter Three outlines and analyses this connection, emphasising that Bitterkomix has to be seen in the wider historical context and not simply as an expression of a parochial, "alternative"culture among young Afrikaners. In the final two chapters, satire and the use of stereotypes in the comic form is considered. The study pays particular attention to the publications, Gif, Afrikaner Sekskomix and Loslyf(an Afrikaans skin magazine) in order to establish connections between deviant sexual behaviour in a repressive society. / AFRIKAANSE OPSOMMING:In hierdie werkstuk word die geskiedenis en problematiek van die hedendaagse strip, veral die kontroversieIe en ikonoklastiese aspekte daarvan, aangespreek. As 'n voorbeeld word die aandag veral toegespits op die plaaslike tydskrif, Bitterkomix. In Hoofstuk Een word die stripmedium geidentifiseer en as homogene kunsvorm bespreek. Die medium se onafhanklikheid van beide die Skone Kunste en die Letterkunde word verduidelik en die identifiserende, intrinsieke kenmerke word basies toegepas vir die ontleding van vorm en betekenis in gekose, hedendaagse strips. Hoofstuk Twee bestaan uit 'n kort oorsig van die geskiedenis van ikonoklasme, ondermyning en kontroverse rondom geselekteerde strips vanaf 1950 tot die hede. Die k1em word geplaas op deurslaggewende ontwikkelings in die medium, veral in die Verenigde State. 'n Skakel word voorgestel tussen die na-oorlogse welvaart van die Amerikaanse gemeenskap en die konserwatiewe waardes onderliggend daaraan. As gevolg van die baie ooreenkomste tussen die waarde-sisteme van wit Suid-Afrika en die van die meer konserwatiewe state van die V.S., word 'n kontekstuele parallel vasgestel wat die ontwikkeling en impak van kontroversieIe strips in die buiteland en die reaksie op Bitterkomix in Suid-Afrika, identifiseer. Hoofstuk Drie skets en ontleed hierdie verbintenis en beklemtoon dat Bitterkomix in 'n wyer historiese konteks beskou moet word en nie slegs as 'n uitdrukking van 'n parogiale, "altematiewe" kuItuur onder jong Afrikaners nie. In die laaste twee hoofstukke word satire en die gebruik van stereotipes in die stripvorm oorweeg. Aandag word veral gegee aan die publikasies Gif: Afrikoner Sekskomix, en Loslyf( 'n Afrikaanse sekstydskrif) om kwessies van abnormale seksuele gedrag in 'n repressiewe gemeenskap aan te raak.

<p>In the last decade, web browsers have seen a remarkable increase of performance, especially in the JavaScript engines. JavaScript has over the years gone from being a slow and rather limited language, to today have become feature-rich and fast. It’s speed can be around the same or half of comparable code written in C++, but this speed is directly dependent on the choice of the web browser, and the best performance is seen in browsers using JIT compilation techniques.</p><p>Even though the language has seen a dramatic increase in performance, there’s still major problems regarding memory usage. JavaScript applications typically consume 3-4 times more memory than similar applications written in C++. Many browser vendors, like Opera Software, acknowledge this and are currently trying to optimize their memory usage. This issue is hopefully non-existent within a near future.</p><p>Because the majority of scientific papers written about JavaScript only compare performance using the industry benchmarks SunSpider and V8, this thesis have chosen to widen the scope. The benchmarks really give no information about how JavaScript stands in comparison to C#, C++ and other popular languages. To be able to compare that, I’ve implemented a GIF decoder, an XML parser and various elementary tests in both JavaScript and C++ to compare how far apart the languages are in terms of speed, memory usage and responsiveness.</p>

In the last decade, web browsers have seen a remarkable increase of performance, especially in the JavaScript engines. JavaScript has over the years gone from being a slow and rather limited language, to today have become feature-rich and fast. It’s speed can be around the same or half of comparable code written in C++, but this speed is directly dependent on the choice of the web browser, and the best performance is seen in browsers using JIT compilation techniques. Even though the language has seen a dramatic increase in performance, there’s still major problems regarding memory usage. JavaScript applications typically consume 3-4 times more memory than similar applications written in C++. Many browser vendors, like Opera Software, acknowledge this and are currently trying to optimize their memory usage. This issue is hopefully non-existent within a near future. Because the majority of scientific papers written about JavaScript only compare performance using the industry benchmarks SunSpider and V8, this thesis have chosen to widen the scope. The benchmarks really give no information about how JavaScript stands in comparison to C#, C++ and other popular languages. To be able to compare that, I’ve implemented a GIF decoder, an XML parser and various elementary tests in both JavaScript and C++ to compare how far apart the languages are in terms of speed, memory usage and responsiveness.

Aim of the thesis is to explain the issue of forces acting in circuit breaker caused by magnetic fields induced by short-circuit current. This thesis is focused on force affecting in concrete system of a circuit breaker. The given circuit breaker is made by OEZ Letohrad, the type Modeion BD250. In the thesis the way of creating 3-D model is shown for the purpose of creating numeric simulation by ANSYS 11. The next approach of the thesis is the description of applicating the results for DC and AC current calculations. The noted calculation is made in the programme MATLAB 6.5. The solutions are mentioned at calculations both in the graphic form and numeric specifications. Visualisation was made by using GIF graphic system animation. The individual pictures processing was done in the programme UNLEAD GIF ANIMATOR 5.