Resources Events Agents (REA) ontology is a profound business modeling ontology that was developed to define the architecture of accounting information systems. Nevertheless, REA did not manage to get the same attention as other business modeling ontologies. One reason of such abandon is the absence of a meaningful visual notation for the ontology, which has resulted in an abstruse ontology to non-academic audience. Another reason for this abandon is the fact that REA does not have a standard formal representation. This has resulted in a humble amount of researches which have focused on defining meta-models of the ontology while neglecting the wider purpose of REA-based information systems development. Consequently, the ontology was deviated away from its original purpose, and rather used in business schools. To solve the aforementioned issues, this research presents a Model Driven Development (MDD) technique in the form of a REA-based Domain Specific Visual Language (DSVL) that is implemented within a modeling and code generation editor. This effort was taken in order to answer the question of “How would a REA-DSVL based tool make the REA ontology implementable in the domain of information systems development?” In order to answer the research question, a design science methodology (DSRM) was implemented as the structure of this research. The DSRM was chosen because this research aims to develop three main artifacts. These are; a meta-model of REA, a visual notation of REA, and a REA-DSVL-based modeling and code generation tool. The first phase of the DSRM was to identify the problems which were mentioned earlier, followed by the requirements identification phase which drew the outline of the; meta-model, the visual notation, and the tool. After that, the development phase was conducted in order to develop the aforementioned artifacts. The editor was then demonstrated using a case study of a local company in Stockholm-Sweden. Finally, the resulted artifacts were evaluated based on the collected requirements and the results from the case study. Based on the analyses of the artifacts and the case study, this research was concluded with the result that a REA-based DSVL tool can help in boosting the planning and analysis phases of the software development lifecycle (SDLC). This is achieved by automating some of the conventional software planning and design tasks, which would lead to more accurate systems’ designs; thus, minimizing the time of the planning and design phases. And it can be achieved by abstracting the direct logic of REA through providing functionalities that help users from different backgrounds (academic and professional) to embrace a business modeling editor rather than an ontology; thus, attracting a wider users base for implementing REA.

Denna studie syftar till att synliggöra material som kan främja flerspråkighet i förskolans fysiska miljö. Forskningsfrågorna som besvaras handlar om vad som framställs i miljön för att stödja flerspråkighet, för vem miljön är tillgänglig ur ett flerspråkigt perspektiv samt vilka språk somframträder i miljön och hur ofta dessa förekommer. Studien utgår från den sociokulturella teorin och genomfördes på två förskolor. En kvalitativ metod tillämpades i studien och datainsamlingen baserades på visuella fältanteckningar i form av fotografier samt skriftliga fältanteckningar. Vidbearbetning och tolkning av materialet användes en kvalitativ analys. Resultatet visar att materialsom kan främja flerspråkighet framställs i förskolans fysiska miljö genom alternativa kommunikationssätt som bilder och tecken. Flerspråkighet synliggörs även genom flaggor och textpå olika språk, samt böcker. / The study aims to make visible material that can support multilingualism in the physical environment of the preschool. The research questions that this study aims to answer are what is presented in the environment to support multilingualism, for whom the environment is available from a multilingual perspective and which languages appear in the environment and how often these occur. The study is based on a sociocultural theory and was conducted at two preschools. A qualitative method was used and the collection of data consists of visual fieldnotes in the form of photographs and written fieldnotes. When processing and reading the material, a qualitative analysis was used. The result shows that material that can support multilingualism is represented in the physical environment of the preschool through alternative communication such as pictures and signs. Multilingualism has also been made visible through flags, texts and books. / Tämän tutkimuksen tarkoitus on tuoda esille materiaalia joka voi tukea monikielisyyttä varhaiskasvatuksen fyysisessä ympäristössä. Tutkimuskysymykset koskevat mitä monikielisyyttätukevaa materiaalia ympäristössä esiintyy, kenelle ympäristö on suunnattu monikielisestä näkökulmasta sekä mitkä kielet esiintyvät ympäristössä ja kuinka usein. Tutkimuksen lähtökohtana oli sosiokulttuurinen teoria ja se toteutettiin kahdessa varhaiskasvatuksen yksikössä kvalitatiivisella menetelmällä. Materiaali kerättiin valokuvien ja muistiinpanojen avulla. Työstö jatulkinta toteutettiin käyttäen kvalitatiivista analyysia. Tulokset näyttävät että materiaali joka voi tukea monikielisyyttä esitetään varhaiskasvatuksen fyysisessä ympäristössä vaihtoehtoisten kommunikaatiomenetelmien kuten kuvien ja viittomien avulla. Monikielisyys esiintyy myöslipuissa, teksteissä ja kirjoissa.

La siguiente investigación tiene como propósito analizar el uso del trazo y la trama como códigos no verbales en la construcción de un lenguaje visual en el manga japonés, cuyo objetivo es el de la transmisión de expresividad gráfica. El contenido narrativo y visual del manga japonés ha generado un alto índice de interés en las culturas occidentales. Éste cuenta con un lenguaje visual con características únicas que lo hacen reconocible frente a otros tipos de cómics. Es por ello que los autores mencionados en la investigación presentan análisis visuales y narrativos en distintas obras gráficas, con el objetivo de exhibir su método de transmisión de historias, ideas o pensamientos, a partir de elementos gráficos no verbales. Los resultados de la investigación mostraron que existe un entendimiento colectivo de los códigos visuales usados comúnmente en el manga, de manera que los usuarios relacionaron dichos códigos con la emoción evaluada en el análisis visual. Sin embargo, en el caso de la trama, los resultados mostraron que es necesario el contexto de un panel para concluir en la emoción deseada. / The following research aims to analyze the use of the line and screentones as non-verbal codes in the construction of a visual language in Japanese manga, whose objective is to transmit graphic expressiveness. The narrative and visual content of Japanese manga has generated a high rate of interest in Western cultures. It contains a visual language with unique characteristics that make it recognizable compared to other types of comics. That is why the authors mentioned in the research display a deep visual and narrative analysis in different graphic works, with the aim of exhibiting their method of transmitting stories, ideas or thoughts, based on non-verbal graphic elements. The results of the research showed that there is a collective understanding of the visual codes commonly used in manga, so that users related these codes to the emotion evaluated in the visual analysis. However, in the case of the screentones, the results showed that the context of a panel is necessary to conclude in the desired emotion. / Trabajo de investigación

Este artículo tiene como objeto de estudio la manifestación del lenguaje visual en los carteles de películas peruanas no masivas estrenadas entre 2013 y 2019. Se plantea como objetivo general explicar las características diferenciadoras del lenguaje visual presente en dicho grupo de carteles. La indagación parte de que existe una representación autónoma del lenguaje mediante la utilización de diversos códigos visuales en la construcción de carteles no masivos. Dicho supuesto se comprobó mediante el uso de una metodología descriptiva y el estudio cualitativo de veintinueve carteles de películas peruanas dentro del rango temporal establecido. Entre los principales resultados se evidenció patrones representativos en cada categoría analizada, descubriendo una tendencia por el uso de la imagen no figurativa en los carteles no masivos a diferencia de los carteles masivos, que buscan reflejar el concepto general de la película a través de la literalidad de la imagen, sin la posibilidad de interpretarla por parte del espectador. De este modo, se concluye que en diecisiete de los veintiún carteles de películas no masivas muestreadas construyen un lenguaje visual diferenciado debido a factores narrativos, actorales o incluso presupuestales, los que se ven reflejados mediante códigos gráficos en la propuesta de diseño. / The main objective of this article is to study the manifestation of visual language in non massive Peruvian movie posters between 2013 and 2019. It is set as a general objective to explain the differentiating characteristics of the visual language presented in that group of posters. The inquiry starts from the existence of an autonomous representation of the language by using a variety of visual codes in the construction of non-massive posters. This assumption was verified by the use of a descriptive methodology and the qualitative study of twenty-nine Peruvian movie posters within a set time range. Representative patterns were evidenced in each analyzed category among the main results, finding a tendency for the use of non-figurative images in the non-massive posters, marking a difference with the massive posters, that pretend to reflect the general concept through the literality of the movie without a possibility of interpretation from the viewer side. On this way it is concluded that from twenty-one sampled non massive movie posters, seventeen build a differentiated visual language due to narrative, acting and budget factors, which are reflected by graphics codes in the design proposal. / Trabajo de investigación

Esta investigación tiene como objetivo general explicar la construcción del lenguaje visual del libro-objetos testimonial realizado por artistas peruanos en la última década. Por ello, se plantearon características diferenciadoras del libro-objeto, para poder identificarlos y analizados en la muestra. Como punto de inicio para esta investigación, se tomó el resurgimiento dela práctica de este soporte en el Perú en la última década y la poca investigaciones en el rubro. Se planteó la hipótesis en la que los libro-objetos testimoniales peruanos usan frecuentemente métodos artesanales, trabajados en el país, ya sea por legado o por el propio intercambio cultural. Además, este tipo de soportes en el país no se aparta de las principales características de un libro tradicional impreso, por ellos se ve el uso recurrente de la fusión tipográfica, fotografías e ilustraciones. De esta manera, se realizó un análisis de cinco libros que cumplen con las características identificadas, el año de publicación y el género literario. La investigación tiene un alcance máximo de carácter descriptivo, diseño transversal y no experimental, ya que se analizará un fenómeno específico del libro-objeto luego de su publicación y se centró en una década concreta. La muestra para el análisis fue no probabilística conformada por 5 libros-objetos. En los cuales, mediante las herramientas necesarias, se identificaron y analizaron los recursos gráficos presentes. De esta manera se pudo determinar cómo se formula la construcción del lenguaje visual del libro-objeto testimonial peruano explicado en 3 principales factores influyente: recursos gráficos, la materialidad del soporte, la cercanía del autor en soportes de carácter testimonial. Finalmente, se puede decir que existe características propias del lenguaje visual del libro-objeto peruano, como: el uso constante del elemento tipográfico manipulado o transformado como un elemento visual, el uso recurrente de ilustraciones o fotografías y la artesalidad. / The general aim of this research is to explain the construction of the visual language of the testimonial book-objects produced by Peruvian artists in the last decade. For this reason, differentiating characteristics of the book-object were proposed in order to identify them and analyse them in the exhibition. As a starting point for this research, the resurgence of the practice of this medium in Peru in the last decade and the lack of research in the field were taken as a starting point. It was hypothesised that Peruvian testimonial book-objects frequently use artisanal methods, worked in the country, either as a legacy or as a result of cultural exchange. In addition, this type of support in the country does not deviate from the main characteristics of a traditional printed book, which is why we see the recurrent use of typographic fusion, photographs and illustrations. Thus, an analysis was made of five books that meet the identified characteristics, the year of publication and the literary genre. The research will have a maximum scope of descriptive character, cross-sectional and non-experimental design, as it will analyse a specific phenomenon of the book-object after its publication and focused on a specific decade. The sample for the analysis was non-probabilistic and consisted of 5 book-objects. In which, using the necessary tools, the graphic resources present were identified and analysed. In this way it was possible to determine how the construction of the visual language of the Peruvian testimonial book-object was formulated, explained in three main influential factors: graphic resources, the materiality of the support, and the proximity of the author to testimonial supports. Finally, it can be said that there are characteristics typical of the visual language of the Peruvian book-object, such as: the constant use of the typographic element manipulated or transformed as a visual element, the recurrent use of illustrations or photographs and the craftsmanship. / Trabajo de investigación

Based on the progress in Computer Vision and Natural Language Processing fields, Vision-Language (VL) models are designed to process information from images and texts. The thesis focused on the performance of a model, Oscar, on different datasets. Oscar is a State-of-The-Art VL representation learning model based on a pre-trained model for Object Detection and a pre-trained Bert model. By comparing the performance of datasets, we could understand the relationship between the properties of datasets and the performance of models. The conclusions could provide the direction for future work on VL datasets and models. In this thesis, I collected five VL datasets that have at least one main difference from each other and generated 8 subsets from these datasets. I trained the same model with different subsets to classify whether an image is related to a text. In common sense, clear datasets have better performance because their images are of everyday scenes and annotated by human annotators. Thus, the size of clear datasets is always limited. However, an interesting phenomenon in the thesis is that the dataset generated by models trained on different datasets has achieved as good performance as clear datasets. This would encourage the research on models for data collection. The experiment results also indicated that future work on the VL model could focus on improving feature extraction from images, as the images have a great influence on the performance of VL models. / Baserat på prestationerna inom Computer Vision och Natural Language Processing-fält, är Vision-Language (VL)-modeller utformade för att bearbeta information från bilder och texter. Projektet fokuserade på prestanda av en modell, Oscar, på olika datamängder. Oscar är en State-of-The-Art VL-representationsinlärningsmodell baserad på en förutbildad modell för Objektdetektion och en förutbildad Bert-modell. Genom att jämföra datauppsättningarnas prestanda kunde vi förstå sambandet mellan datauppsättningarnas egenskaper och modellernas prestanda. Slutsatserna skulle kunna ge riktning för framtida arbete med VL-datauppsättningar och modeller. I detta projekt samlade jag fem VL-datauppsättningar som har minst en huvudskillnad från varandra och genererade 8 delmängder från dessa datauppsättningar. Jag tränade samma modell med olika delmängder för att klassificera om en bild är relaterad till en text. I sunt förnuft har tydliga datauppsättningar bättre prestanda eftersom deras bilder är av vardagliga scener och kommenterade av människor. Storleken på tydliga datamängder är därför alltid begränsad. Ett intressant fenomen i projektet är dock att den datauppsättning som genereras av modeller har uppnått lika bra prestanda som tydliga datauppsättningar. Detta skulle uppmuntra forskning om modeller för datainsamling. Experimentresultaten indikerade också att framtida arbete med VL-modellen kan fokusera på att förbättra funktionsextraktion från bilder, eftersom bilderna har ett stort inflytande på prestandan hos VL-modeller.

A partir da análise dos trabalhos do departamento de design da Cranbrook Academy of Art, durante o período coordenado por Katherine McCoy (1971 a 1995), este trabalho procura identificar os novos caminhos desenvolvidos pela escola para a prática do design gráfico contemporâneo, e em especial a concepção do design como parte do processo de comunicação. O design até os anos 1970 era regido por pressupostos formais, funcionais e neutros, o que talvez não permitisse entendê-lo como linguagem visual, em si, mas como mero suporte para o texto. Na escola, a abordagem funcionalista foi questionada nos anos 1970 e, a partir daí, nos anos 1980, inspirados por conceitos teóricos do pós-estruturalismo e pós-modernismo, foram introduzidas novas ideias a fim de legitimar o designer também como produtor de conteúdo. Ao buscar referências teóricas no pós-estruturalismo, percebeu-se a importância do receptor na interpretação da mensagem, assim como a necessidade de se produzir peças gráficas que encorajassem, a partir da relação do conteúdo com a forma gráfica, a participação do público. A escola, de modestas proporções, cuja média era a de 8 alunos ingressantes por ano, era baseada no ensino em estúdio, não possuía grade curricular fixa, nem disciplinas regulares. Os discentes eram sempre encorajados a pesquisar e se desenvolver. Muitas das pesquisas e resultados dos trabalhos são frutos da reflexão individual de cada aluno, inspirados pelo ambiente em contínuo desenvolvimento. A Cranbrook foi, dessa maneira, formadora de muitos dos principais designers norteamericanos atuais, como por exemplo Allen Hori, Andrew Bleauvelt, David Frej, David Shields, Ed Fella, Elliot Earls, Geoff Kaplan, Jane Kosstrin, Jeff Keedy, Kimberly Elam, Laurie Haycock Makela, Loraine Wild, Lucille Tenazas, Martin Venezky, Meredith Davis, Michael Carrabeta, Nancy Skolos, Richard Kerr, Robert Nakata, Scott Makela (1960-1999), Scott Santoro, Scott Zukowsky, entre outros. Cada um deles possuiu um papel particular e muitos compartilhavam idéias semelhantes, mas a maior parte deles procurou ampliar o campo do design gráfico agregando conteúdos mistos e abrindo-se a novas possibilidades de produção e reflexão sobre a relação entre texto e imagem. / With the analysis of the works from Cranbrook Academy of Art´s Design Department, under Katherine McCoy\'s Co-Chairmanship (1971 to 1995), this work intends identify the new ways developed by the School for the practice of contemporary graphic design, focusing on the concept of the design as part of communication process. Until the years 1970 design was ruled from the formal, functional and neutral presuppositions of Modernity, without the understanding of design as a visual language itself, but only as a mere support the text. In the 1970\'s the School questioned the functionalist approach, and during the 1980\'s years, new ideas were introduced to legitimate the designer as producer of contents, inspired by post-structuralism and post-modern concepts. Theoretical references in post structuralism stressed the importance of the receptor\'s interpretation of the message, as well in the importance of producing graphic works that encourage the participation from the public audience, founded in the relationship between content and graphic form. The School\'s graphic design program was modest in size 8 new students per year - and was studio-based without a fixed curriculum of courses and classes. The students were challenged to research and develop their individual expressions. Their research and resulting works are the fruit of the students\' individual reflection inspired by the continuously developing environment. Cranbrook produced many of the most important contemporary North American designers, such as Allen Hori, Andrew Bleauvelt, David Frej, David Shields, Ed Fella, Elliot Earls, Geoff Kaplan, Jane Kosstrin, Jeff Keedy, Kimberly Elam, Laurie Haycock Makela, Lorraine Wild, Lucille Tenazas, Martin Venezky, Meredith Davis, Michael Carrabeta, Nancy Skolos, Richard Kerr, Robert Nakata, Scott Makela (1960-1999), Scott Santoro, Scott Zukowsky, and others. Each one had a particular role play and many shared similar ideas, as they worked to enlarge the graphic design field with mixed contents and explored new possibilities of production and new roles for text and image.

Relicário [a natureza da natureza] é o corpo de trabalhos artísticos aqui reunidos sob esta forma coesa. Esta tesecompêndio inclui realizar o trabalho em si mesmo, tanto quanto pensar formas de registrar e documentar organizadamente o processo criativo, bem como o trabalho finalizado com suas inter-relações e desdobramentos. Esta organização visual busca compartilhar a percepção do artista visual durante o desenvolvimento de seus processos criativos e de pesquisa, tornando evidente e valorizando a complexidade intelectual desta área do conhecimento humano: a linguagem visual. A tese é uma colagem não linear, premissa necessária para refletir a coesão e a multiplicidade simultânea e circular do pensamento visual. / Reliquary [the nature of nature] is the body of artistic works gathered here in this cohesive form, where seeing, doing and thinking are faces of the same creative act. This thesiscompendium includes performing the work itself, as well as thinking of ways to record and document the creative process and the work finalized with their interrelationships and unfolding. This visual organization seeks to share the perception of the visual artist during the development of her creative and research processes, making evident and valuing the intellectual complexity of this area of human knowledge: visual language. The thesis is a non-linear collage, a necessary premise to reflect the cohesion and the simultaneous and circular multiplicity of visual thinking.

[pt] Este estudo pretende disponibilizar diretrizes para uma linha de trabalho conjunto entre as áreas de estudo do Design, da Interação Humano-Computador (IHC) e da Pedagogia. A carência de pesquisas que envolvam estas três áreas revela a falta de critérios adequadamente definidos para a construção de suportes educacionais a distância. Esta investigação analisa a atuação do designer como potencializador da informação e da comunicação nos ambientes de aprendizagem mediados pela internet. Nos estudos realizados na presente dissertação, problemas de comunicação e de informação foram considerados fatores essenciais na configuração de ambientes educacionais. Esta investigação trouxe à tona a necessidade de se considerar o uso de ferramentas de Design na configuração de ambientes para educação a distância, principalmente neste momento em que a tecnologia da informação está transformando sensivelmente o entorno e as relações sociais dos indivíduos. A presente pesquisa apresenta um Guia para a análise do Design de Interface com o objetivo de testar aspectos de usabilidade em ambiente de aprendizagem a distância, à luz do Design, da IHC e da Pedagogia Com tais procedimentos visa-se o desenvolvimento de interfaces centradas no usuário e a melhoria dos padrões de ambientes educacionais, tornando o aprendizado a distância mais produtivo e interativo. Para a validação do guia, objeto da presente dissertação, foi utilizado o ambiente Oficina Projeto Didático, que é oferecida pela CCEAD, Coordenação Central de Educação a Distância da PUC-Rio. Este, utiliza o LMS (Learning Management System)denominado Aulanet. / [en] This study intends to put available a plan of direction to a job line connecting of three areas: Graphic Design Studies, Human-Computer Interaction (HCI) and Pedagogy. The lack of researches that involves these three areas reveals the lack of suitably defined criteria to build distance learning support. This investigation analyses the designer performance as an area that can make easy to understand the information and the communication in the learning environment mediated through internet. Information and communication problems were considered essential factors in the educational environment configuration for the studies done in this present dissertation. This investigation brought up the necessity to consider the use of Design tools to configurate distance learning environments, specially in this moment where information technology is sensibly transforming individual`s enviroments and the social relationship. This research presents a Guide to Interface Design s analysis, the goal is to test usability aspects in distance learning environments, under the focus of Design, Human-Computer Interaction and Pedagogy. Such procedures intend to develop the interfaces focused on the user and enhance educational environments standards, making the distance learning more productive and interactive. The Guide validation, object of this present dissertation, was done with the use of the environment Oficina Projeto Didático, offered by CCEAD (Coordenação Central de Educação a Distância da PUC-Rio, which uses LMS (Learning Management System) denominated Aulanet.

Made available in DSpace on 2016-04-28T18:23:56Z (GMT). No. of bitstreams: 1 Elaine Hernandez de Souza.pdf: 2581860 bytes, checksum: 529a8847b31dd0ecbe9a207367a1b11e (MD5) Previous issue date: 2008-12-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research intends to identify the discourses on the artistic activity in the verbo-visual composition of the fable The Cicada and the Ants , by Monteiro Lobato and its illustrators, recouping, from the Brazilian version, the versions of Aesop and La Fontaine, in order to establish an interdiscursive relation among them. During the process of survey and selection of the corpora, we took into consideration, among other factors, the diversity in the spheres of production and circulation of the variants of this same fable, as well as their intertextual relation. Our research is divided in three stages. We started by surveying the history of that artistic activity, based upon concepts of act/activity, genre of discourse and genre of activity. In the following stage, we discussed the characterisation of the fable as a discursive practice for the construction of the proposed theme and, finally, we analyzed the discursive verbo-visual materiality of Lobato, La Fontaine and Aesop s texts in order to, then, establish the dialogical relations among them. At the end of this research, the study concerning the representation of the artistic activity in the fable The Cicada and the Ants shows its relevance in the measure it makes possible not only the rescue of those memory and identity of the Brazilians of the first half of the 20th Century but also points ways to the understanding of other social, historical, cultural values represented in this fable, although not considered in this project / Esta pesquisa pretende identificar os discursos sobre a atividade artística na composição verbo-visual da fábula A cigarra e as formigas , assinada por Monteiro Lobato e ilustradores, recuperando, a partir da versão brasileira, as versões de Esopo e de La Fontaine, a fim de estabelecer a relação interdiscursiva entre elas. No processo de levantamento e seleção dos corpora, levamos em consideração, dentre outros fatores, a diversidade nas esferas de produção e de circulação das variantes dessa mesma fábula, bem como a relação intertexual entre elas. Nossa investigação se divide em três etapas. Iniciamos com um levantamento histórico da atividade artística, embasado nos conceitos de ato/atividade, de gênero do discurso e de gênero da atividade. Na etapa seguinte, tratamos da caracterização da fábula como prática discursiva na construção da temática proposta e, finalmente, analisamos a materialidade verbo-visual discursiva dos textos de Lobato, La Fontaine e Esopo, para, então, estabelecer as relações dialógicas entre eles. Ao final da pesquisa, o estudo da representação da atividade artística na fábula A cigarra e as formigas mostra sua relevância na medida em que ele possibilita o resgate não apenas da memória e da identidade dos brasileiros da primeira metade do século XX, como também aponta caminhos para a compreensão de outros valores sócio-histórico-culturais representados nessa fábula, valores estes que não foram contemplados neste trabalho