A linha do tempo aparece como metáfora visual apenas no século XVIII, intimamente ligada à noção moderna de progresso, quando passa a ganhar espaço nas sociedades industriais até se tornar uma espécie de retrato da forma como concebemos o tempo. Atualmente, as timelines estão em jornais, revistas, exposições, sites, redes sociais, e, obviamente, no ensino de História. Entretanto, a forma de um tempo em linha carrega a noção de uma evolução contínua e incontornável, teleológica, exato oposto de um tempo histórico social, múltiplo, construído pelas sociedades humanas. No entanto, trabalhos historiográficos recentes mostram um conjunto muito mais amplo de possibilidades nas chamadas cartografias do tempo, que, baseadas em recursos da linguagem visual, resultam em objetos de aprendizagem extremamente valiosos para o ensino de História. Conhecidos como History Charts, Chronographics, ou, simplesmente, mapas do tempo, tem como característica comum o fato de apresentarem alternativas que se prestam bastante bem ao ensino de certas noções básicas do conhecimento histórico contemporâneo, para além da mera cronologia. Este trabalho apresenta um estudo desses materiais, e busca, a partir desses formatos e das formas do tempo medido, referências para a apresentação de um mapa do tempo interativo como forma de atingir resultados significativos no ensino de História junto a turmas do nível médio do ensino básico. / The timeline appears as a visual metaphor only in the eighteenth century, closely linked to the modern notion of progress, as it gains space in industrial societies until it becomes a sort of picture of how we conceive of time. Currently, the timelines are in newspapers, magazines, exhibitions, websites, social networks, and obviously in teaching History. However, the form of an online time carries the notion of a continuous and uncontrollable evolution, teleological, exact opposite of a historical social time, multiple, constructed by human societies. However, recent historiographical works show a much broader set of possibilities in so-called cartographies of time, which, based on visual language resources, result in learning objects that are extremely valuable for teaching history. Known as History Charts, Chronographics, or simply maps of time, it has as a common characteristic that they present alternatives that lend themselves well to the teaching of certain basic notions of contemporary historical knowledge, beyond mere chronology. This work presents a study of these materials and searches, from these formats and the forms of the measured time, references for the presentation of a map of interactive time as a way to achieve significant results in the teaching of History to classes of the High School level of basic education.

Obtenir une vision précise des évènements survenus durant un incident est un objectif difficile à atteindre lors d'enquêtes de criminalistique informatique. Le problème de la reconstruction d'évènements, ayant pour objectif la construction et la compréhension d'une chronologie décrivant un incident, est l'une des étapes les plus importantes du processus d'investigation. La caractérisation et la compréhension complète d'un incident nécessite d'une part d'associer à chaque fragment d'information sa signification passée, puis d'établir des liens sémantiques entre ces fragments. Ces tâches nécessitent l'exploration de grands volumes de données hétérogènes trouvés dans la scène de crime. Face à ces masses d'informations, les enquêteurs rencontrent des problèmes de surcharge cognitive les amenant à commettre des erreurs ou à omettre des informations pouvant avoir une forte valeur ajoutée pour les progrès de l'enquête. De plus, tout résultat produit au terme de la reconstruction d'évènements doit respecter un certain nombre de critères afin de pouvoir être utilisé lors du procès. Les enquêteurs doivent notamment être en capacité d'expliquer les résultats produits. Afin d'aider les enquêteurs face à ces problèmes, cette thèse introduit l'approche SADFC. L'objectif principal de cette approche est de fournir aux enquêteurs des outils les aidant à restituer la sémantique des entités composant la scène de crime et à comprendre les relations liant ces entités tout en respectant les contraintes juridiques. Pour atteindre cet objectif, SADFC est composé de deux éléments. Tout d'abord, SADFC s'appuie sur des fondations théoriques garantissant la crédibilité des résultats produits par les outils via une définition formelle et rigoureuse des processus utilisés. Cette approche propose ensuite une architecture centrée sur une ontologie pour modéliser les connaissances inhérentes à la scène de crime et assister l'enquêteur dans l'analyse de ces connaissances. La pertinence et l'efficacité de ces outils sont démontrées au travers d'une étude relatant un cas d'investigation fictive. / Having a clear view of events that occurred over time is a difficult objective to achieve in digital investigations (DI). Event reconstruction, which allows investigators to build and to understand the timeline of an incident, is one of the most important steps of a DI process. The complete understanding of an incident and its circumstances requires on the one hand to associate each piece of information to its meaning, and on the other hand to identify semantic relationships between these fragments. This complex task requires the exploration of a large and heterogeneous amount of information found on the crime scene. Therefore, investigators encounter cognitive overload problems when processing this data, causing them to make mistakes or omit information that could have a high added value for the progress of the investigation. In addition, any result produced by the reconstruction process must meet several legal requirements to be admissible at trial, including the ability to explain how the results were produced. To help the investigators to deal with these problems, this thesis introduces a semantic-based approach called SADFC. The main objective of this approach is to provide investigators with tools to help them find the meaning of the entities composing the crime scene and understand the relationships linking these entities, while respecting the legal requirements. To achieve this goal, SADFC is composed of two elements. First, SADFC is based on theoretical foundations, ensuring the credibility of the results produced by the tools via a formal and rigorous definition of the processes used. This approach then proposes an architecture centered on an ontology to model and structure the knowledge inherent to an incident and to assist the investigator in the analysis of this knowledge. The relevance and the effectiveness of this architecture are demonstrated through a case study describing a fictitious investigation.

京都大学 / 0048 / 新制・課程博士 / 博士(情報学) / 甲第22574号 / 情博第711号 / 新制||情||122(附属図書館) / 京都大学大学院情報学研究科社会情報学専攻 / (主査)教授 吉川 正俊, 教授 鹿島 久嗣, 教授 田島 敬史, 特定准教授 JATOWT Adam Wladyslaw / 学位規則第4条第1項該当 / Doctor of Informatics / Kyoto University / DGAM

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Various time-based visualization techniques have been designed to support the temporal analysis of data collections. While quantities play a secondary role in traditional timelines that reserve space for each individual data item to be observed, time graphs rather display quantitative information and they provide interaction means to filter for a subset of the data. Timages is a hybrid approach that enhances quantitative time graphs with qualitative information in an infographic-style. By (1) scaling thumbnails of data items dependent on relevance to the observed topic and by (2) time-dependent positioning these thumbnails inside a temporally aligned area with a novel space-filling strategy, the most relevant items in the entire data collection as well as predominant data items of certain time ranges are instantly seizable without the need to interact with the time graph.

付記する学位プログラム名: デザイン学大学院連携プログラム / 京都大学 / 0048 / 新制・課程博士 / 博士(情報学) / 甲第21912号 / 情博第695号 / 新制||情||119(附属図書館) / 京都大学大学院情報学研究科知能情報学専攻 / (主査)教授 黒橋 禎夫, 教授 西田 豊明, 教授 楠見 孝 / 学位規則第4条第1項該当 / Doctor of Informatics / Kyoto University / DFAM

This thesis covers the history of the MOBA (Multiplayer Online Battle Arena) genre by creating a chronological historical timeline of some of the most catalytic titles. It also delves deeper into the dynamic between modders and companies and how that dynamic changed as the genre evolved. All of this is analyzed through a political economy lens, to see how the power structure and monetization plan for the games in the genre has changed over the years. The research was conducted by piecing together relevant academic papers, with popular sources to construct a credible thesis on the MOBA genre's evolution. One of the key points from this research is how monetization has changed from the beginning of the genre to how it is today. Roughly 20 years ago, when the genre first started, monetization was more straightforward, a one-time purchase for the game. Today, most games in the genre are free-to-play, while containing in-game purchases such as cosmetics and character unlocks.

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The focus of this thesis will be the exploration of the narrative constructs around the life and work of Michelangelo Merisi da Caravaggio (1571–1610). This exploration will occur through the study of selected exhibitions curated on the Lombard artist from the twentieth- through twenty-first centuries. It will demonstrate how museums have played a significant role in the public’s understanding and perception of Caravaggio. In this thesis, I will argue that exhibitions on Caravaggio have supported and reshaped the general understanding and perception of the artist in crucial ways not done to the same effect in more nuanced academic scholarship. I will also argue that public exhibitions have functioned according to a different set of agendas from those addressed to academia. For example, exhibitions are conceived and function on guiding principles such as alignment with museum mission statements, audience draw and accessibility, educational outcomes, and the visitor experience. This thesis will seek to determine to what measure these principles have affected the framing of content and to clarify how in particular the selective use of Caravaggio’s biography has affected interpretation of his works within a museum context for a viewing public. The restored enthusiasm for Caravaggio in the second-half of the twentieth century also focused on his personal life due to the publication and translation by Walter Friedlaender of Lives written by his seventeenth-century biographers—Giorgio Mancini, Giovanni Baglione, and Giovanni Pietro Bellori—as well as the publication of documents and court records, which highlighted episodes of Caravaggio’s criminality, all impinging on our interpretation of his artistic merits. Although these findings support our understanding of Caravaggio as a complex individual, they also contribute to the sensationalization and romanticization of the artist as the quintessentially bohemian figure. Furthermore, doubtful attributions and disputes over execution dates problematize our understanding of the artist’s oeuvre and have at certain points reinforced a ‘Caravaggio narrative’ of the rebellious, indecorous artist. It is my intention to show how museum exhibitions have contributed to and exploited this narrative and to determine more precisely how and to what extent they have shaped it. With this exploration of Caravaggio’s narrative construction by museum exhibitions of the twentieth- to twenty-first centuries, I aim to approach and reconsider this subject, which has been dealt with heavily in scholarship, under a different lens. In the case of Caravaggio—whose persona and works have been posthumously manipulated, admired, and condemned at the hands of biographers and critics—it is necessary to approach this subject with renewed, unbiased, and objective vigor within a new frame of understanding: the museum exhibition frame. I will use a comparative method, studying three key exhibitions over time, to show how museums have presented the artist’s career development. I pay particular attention to the incorporation of biography and to the impact the inclusion of selected aspects of his Lives have had on the public view of his works. The influential format of Giorgio Vasari’s Lives of the Artists set the structure and codified the model of biographical determinism that would inform Caravaggio’s later biographers in the interpretation of his works; this has persisted through the twentieth- and twenty-first centuries with the application of psychoanalytic approaches to Caravaggio. The first of the three exhibitions I have selected is Longhi’s 1951 Milan exhibition, Mostra del Caravaggio e dei Caravaggeschi, which restored public consciousness of Caravaggio’s innovative and revolutionary style, reinserting him into the artistic canon. My second example will be The Age of Caravaggio, held at the Metropolitan Museum of Art in 1985. The Met exhibition is novel for its focus on Caravaggio’s relationship with his precursors and contemporaries (the organizing committee deliberately excluded works by Caravaggio’s followers) and for its interpretation of works within their historical context. Finally, I will examine Caravaggio: L’ultimo tempo 1606–1610, held first at the Museo di Capodimonte, Naples 2004–2005, then later as Caravaggio: The Final Years, at the National Gallery, London in 2005, which focused on the more enigmatic part of Caravaggio’s late career after his flight from Rome in 1606. The London 2005 exhibition provided new insight into the artist’s stylistic changes in the last years of his life. These three exhibitions will give insight about the perception shifts of the artist that have taken place in the twentieth and twenty-first centuries as a result of scholarly research spurred by museum exhibitions centered around Caravaggio. / Art History

This study examines how a game-based lesson plan can affect students' motivation for schoolwork and their understanding of historical timelines. The study was conducted in a grade five where some students were recorded, interviewed and observed. The result indicates that a game-based lesson plan can affect students' motivation both positively and negatively depending on how the game is designed, and factors that are not directly connected to the game, such as grouping. Factors such as repetition, image support and that the game and grouping enable students to be in the zone of proximal development can be supportive for students learning. The benefits with this game-based lesson plan are that the games are flexible and reusable and can be adapted in different ways. The negative aspects of this game-based lesson plan are that the economy of the school can control which functions the students can use, and an unsuccessful grouping can lead to bad collaboration and unmotivated students.