No description available.

No description available.

No description available.

No description available.

No description available.

Estudio sobre la producción de las mujeres existente el fenómeno del graffiti hip hop en los principales centros urbanos de España a finales del siglo XX. La investigación analiza, a la luz de las disciplinas del arte y de los estudios de género, los posibles aspectos que distinguen los graffiti hip hop producidos por hombres y por mujeres. Palabras clave: Graffiti, hip hop, mujer, significante y singularidad / Gonçalves De Paula, PD. (2006). Graffiti hip hop femenino en España a finales del siglo XX: la singularidad como significancia [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/1953

Educational reform movements are constantly in the process of trying to improve a fractured educational system. Many scholars contend there is a discrepancy between educational outcomes for White students and students from diverse ethnic backgrounds. Some educators in working class communities of color have begun to infuse elements of students’ social and cultural backgrounds, including popular culture, to create instructional methods that can better engage and pique student interest. Hip-hop Pedagogy is one of the methods, rooted in popular culture, which is being used in classroom settings to increase students’ awareness about the societal constructs and issues in their communities that may affect them. Student access to Hiphop based instructional methods, however, have been limited and virtually absent from elementary education settings. However the consumption of Hip-hop culture persists in urban communities worldwide. This qualitative study implemented a Hip-hop emergent-based curriculum in an elementary school setting, closely documenting the perceptions and responses to the curriculum by four young males students of color. The study consisted of five consecutive classroom sessions, in which the curriculum and dialogue focused on different expressions of Hip-hop culture. Student viewpoints were logged daily in focus groups and the data that emerged from the sessions and focus groups informed the emergent curriculum. Graffiti became the Hip-hop element of focus chosen for deeper exploration by the participants in this study. The study revealed a number of findings that point to the potential value of an emergent Hip-hop curriculum with elementary male students of color.

Design and evaluation of input methods for secondary tasks in dual-task systems presents specific challenges not covered by traditional human-computer interaction design techniques. Emerging trends in the fields of mobile, ubiquitous, and in-vehicle information systems demonstrate a desire for users to interact with information systems while engaging in other tasks. Research on interaction within these various fields has revealed input methods that perform well for a particular task. However, few focus on the tradeoffs of attention that must be made to react to this notification information. A design analysis technique for input methods is proposed focusing on the design objectives of interruption, reaction, and comprehension for the secondary task made at the cost of primary task attention. Through a study conducted using a reusable usability test platform constructed for this thesis, a typical in-vehicle information system is analyzed using the proposed design analysis. Three input methods were designed and compared: a graffiti character recognizer, a touch screen, and a remote control for their proficiency at selecting an item from a list while operating a driving simulator. The results of the study revealed similar task performance between the varied input methods; however, the design analysis enabled recommendations about future design directions, confirming the viability of the technique for notification systems research. / Master of Science

Teknisk utveckling ger oss nya sätt att skapa möjligheter att uppleva staden på fler sätt. Graffiti och street art är omdiskuterade ämnen i relation till stadsbyggnad och urbana rum, hur kan de bidra till stadsrummet på nya sätt genom att använda dessa nya tekniker och hur skulle det kunna se ut. Denna uppsats tar upp frågan om graffitis platsskapande egenskaper i en virtuell mijö.Genom litteraturstudier och praktikbaserad forskning samlar den information och forskning för att skapa en diskussion kring detta. Resultatet tyder på att det fortfarande är en relativt kompliceradprocess och därför inte tillgänglig för alla att skapa samt att de platsskapande egenskapergraffitimålande har inte går att jämföra med att konstruera AR. Som upplevelse är dock AR jämförbart med en graffitimålning, och har kanske än mer möjlighet för platsskapande.

Si le « Street art » constitue aujourd’hui un élément indissociable du paysage urbain, et si sa reconnaissance du point de vue artistique ne fait aucun doute, son appréhension et son traitement par le droit demeure problématique et soulève de nombreux questionnements. Dès lors que cette forme d’expression répond aux critères du droit d’auteur, l’œuvre est protégée et bénéficie des mêmes droits et prérogatives que d’autres œuvres plus classiques dirons-nous, telles que des peintures de Maîtres, des œuvres littéraires des plus belles plumes de ce monde… Toutefois, lorsque leur créateur décide de mettre en scène son art sans considération pour le propriétaire du support sur lequel il s’inscrit, cette protection même si légitime est remise en cause. Le droit pénal ou encore le droit des biens par exemple se hissent face au droit d’auteur, et des compromis doivent être trouvés pour apaiser les tensions découlant d’une telle pratique. Propriétaire ou auteur, doit-on forcément n’en favoriser qu’un ? / Although « Street art » is today an inseparable part of the urban landscape, and its artistic recognition is beyond doubt, its apprehension and treatment by law remains problematic and raises many questions. As long as this form of expression meets the criteria of copyright, the work is protected and enjoys the same rights and prerogatives as other more classical works, we shall say, such as paintings of Masters, literary works of the most beautiful feathers of this world... However, when their creator decides to stage his art without consideration for the owner of the medium on which he fits, this protection even if legitimate is called into question. Criminal law and property law, for example, rise up to copyright, and compromises must be found to ease tensions arising from such a practice. Owner or author, do we necessarily have to favour only one?