860 research outputs found
Fred Krebs as L. Frank Baum, author of The Wizard of Oz
No full textFred Krebs performs an historical impersonation of L. Frank Braun (1856-1919), author of the book, The Wonderful Wizard of Oz. This event was sponsored by the Kansas Humanities Council
Social work: critical theory and practice
No full textThis is a text which is organised with a reflective approach to social work. The discussion and description of theories and practices is interspersed with exercises, which serve to engage the reader in an interactive thinking process. Author is from Deakin University
Is he too ---?: Oz Almog's colorful index judeorum: the chronicle of a cultural obsession
No full textAlmog Oz je sačinio zbirku od oko 1500 portreta (30 x 30 cm, ulje na platnu), koja još uvek raste. Ovom prilikom (i u ovom štampanom katalogu) izložena su 283 portreta. Možda bi bilo pravilnije da se umesto reči „izložba“ kaže da je to instalacija jer nju, uz portrete, sačinjavaju i kratke biografije svih prikazanih ličnosti. Almog je svoje “junake” slikao više sledeći ideju da ih što vernije predstavi, nego da zadovolji umetničke uzuse. Zato se o umetničkom karakteru njegovog dela najčešće govori kao o sporednoj stvari. Svoj opus sâm autor naziva subculture art, kome cilj nije umetničko ostvarenje, već spoznaja foto-automatom percipirane karakteristične slike. Ovo nam kaže likovni kritičar Šlomit Štajnberger. Tu se, dakle, mogu sresti biblijski i mitološki likovi, junaci legendi, vojnici, holivudske zvezde, naučnici, sveci, ludaci, gangsteri, ubice, političari, humanisti... Slikarski opus Almoga zalazi duboko u istoriju jevrejskog naroda, u sve slojeve njegovog društva i sve oblasti života u kojima su se iskazali ovi njegovi sunarodnici. I koji su ostavili nekakav trag u javnosti, bilo kao dobre (najviše njih kao takve) ili loše osobe. Ukratko, to su poznati ljudi, građani sveta, dakle svačiji. Njih niti je moguće niti je potrebno odrediti samo pripadnošću jednoj veri, naciji ili državi. A ipak, svi su bili ili su još uvek Jevreji.Almog Oz has built a collection of about 1500 portraits (30 x 30 cm, oil on canvas), which is still growing. On this occasion (and in this printed catalogue) 283 portraits were exhibited. Perhaps it would be more correct to say instead of the word "exhibition" that it is an exhibition because, along with portraits, it also consists of short biographies of all the personalities shown. Almog painted his "heroes" following the idea of representing them as faithfully as possible, and not to satisfy artistic pleasures. That's why the artistic character of his work is often discussed as a secondary matter. "... The author himself calls his opus subculture art, the goal of which is not artistic achievement, but the recognition of characteristic images perceived by a photo-automat..." This is what art critic Shlomit Steinberger tells us. Here, therefore, you can meet biblical and mythological characters, heroes of legends, soldiers, Hollywood stars, scientists, saints, madmen, gangsters, murderers, politicians, humanists... Almog's painting goes deep into the history of the Jewish people, into all its layers of society and all areas of life in which these compatriots expressed themselves. And who left some kind of mark on the public, either as good people (most of them as such) or as bad people. In short, these are famous people, citizens of the world, so everyone. It is neither possible nor necessary to define them only by belonging to one religion, nation or state. And yet, all of them were or still are Jews
Faces e contrafaces: alguns aspectos da Obra de Amós Oz
No full textEste ensaio alinhava o cruzamento de aspectos políticos na obra literária de Amós Oz. Questões antes reprimidas pela geração de escritores vinculada à fundação do Estado de Israel vêm à tona na literatura de Oz. Meu intuito foi ressaltar o lugar de destaque que essa literatura dedica à presença e à voz do “outro.”In this essay the author cross-stiches political aspects of Amos Oz’ literary work. Issues previously repressed by the writers’ generation connected to the foundation of the State of Israel, emerge in Oz´ literature. The author’s aim is to highlight how this literature sticks out the presence and the voice of the “other”
Selvbiografi - Amos Oz - En fortælling om kærlighed og mørke
No full textThis project covers the dimensions “text and sign” and “subjectivity and learning”, and consists of content and structure analysis of the autobiographical novel A tale of love and darkness by the Israeli author Amos Oz. The projects aim is to investigate how an individual (in this case Amos Oz) can construct an identity by using a narrative. The interaction between author, text and reader, and the way it influences identity construction processes, will be discussed, as well as the esthetics and literary aspects and their contribution to what the novel wishes to convey. The project concludes that by composing the novel, Amos Oz goes though a process of reconstruction and redefining his identity. Moreover, the reader himself goes through a similar process; for by close and responsive reading in Oz’ memories and narratives, the reader is given the possibility to reflect on his own identity perception. Furthermore, we conclude that one of the novels main themes is the manifestation of the complexity and richness of life, and the many sidedness of the human experience.This project covers the dimensions “text and sign” and “subjectivity and learning”, and consists of content and structure analysis of the autobiographical novel A tale of love and darkness by the Israeli author Amos Oz. The projects aim is to investigate how an individual (in this case Amos Oz) can construct an identity by using a narrative. The interaction between author, text and reader, and the way it influences identity construction processes, will be discussed, as well as the esthetics and literary aspects and their contribution to what the novel wishes to convey. The project concludes that by composing the novel, Amos Oz goes though a process of reconstruction and redefining his identity. Moreover, the reader himself goes through a similar process; for by close and responsive reading in Oz’ memories and narratives, the reader is given the possibility to reflect on his own identity perception. Furthermore, we conclude that one of the novels main themes is the manifestation of the complexity and richness of life, and the many sidedness of the human experience
Interaction between pedestrians and Wizard of Oz automated vehicles
No full textAutomated Vehicles (AV) will be introduced on public roads in the near future. This would result in automated vehicles sharing the urban space with other road users including drivers of traditional vehicles and vulnerable road users. Pedestrians might be unable to distinguish the vehicle type (traditional or automated) they are interacting with and crossing situations might become confusing, possibly leading to dangerous encounters between pedestrians and vehicles. There is currently little knowledge about the interactions between pedestrians and AVs from the point of view of the pedestrian in a real life environment. The aim of this master thesis is to determine whether pedestrians’ crossing intentions differ when interacting with automated vehicles compared to when interacting with traditional vehicles. An experiment was developed on a closed road where participants encountered a Wizard of Oz automated vehicle and a traditional vehicle in a within-subject design. In the Wizard of Oz set-up, a fake ‘driver’ sat on the driver seat while the vehicle was driven by the passenger with a joystick. Different scenarios were studied regarding vehicle appearance (‘driver’ reading a newspaper, roof signs, hood/side signs) and approach direction (left vs. right). Results showed that the majority of participants reported that the vehicle was (sometimes) driven autonomously, which indicates that the Wizard of Oz was credible. Moreover, most of the participants perceived the differences in vehicle appearance and reported to be influenced by these features. Despite of this, measurements of critical gaps and self-reported level of stress showed no significant differences between the different conditions of vehicle appearance
Exploring user comfort in automated driving: A qualitative study with younger and older users using the Wizard-Of-Oz method
No full textAs the introduction of automated vehicles (AVs) into road traffic accelerates, establishing user acceptance is increasingly crucial. User comfort, largely influenced by the AVs' driving styles, is one of the essential factors influencing acceptance. This video submission provides a methodological overview of a qualitative interview study, which used a Wizard-of-Oz method to investigate participants' comfort levels during automated driving on real roads. By understanding the specific comfort experiences of both older and younger users, we can inform the design process for AVs, thereby enhancing user experience and facilitating broader acceptance of technology across a more diverse and inclusive demographic spectrum.Green Open Access added to TU Delft Institutional Repository ‘You share, we take care!’ – Taverne project https://www.openaccess.nl/en/you-share-we-take-care Otherwise as indicated in the copyright section: the publisher is the copyright holder of this work and the author uses the Dutch legislation to make this work public.Transport and PlanningCorporate Innovation
An Oz-Centric Review of Interactive Drama and Believable Agents
No full textBelievable agents are autonomous agents that exhibit rich personalities. Interactive dramas take place in virtual worlds inhabited by characters (believable agents) with whom an audience interacts. In the course of this interaction, the audience experiences a story (lives a plot arc). This report presents the research philosophy behind the Oz Project, a research group at CMU that has spent the last ten years studying believable agents and interactive drama. The report then surveys current work from an Oz perspective. This research was partially supported by a grant from Intel Corporation. The views and conclusions contained in this document are those of the author and should not be interpreted as representing the official policies, either expressed or implied, of Intel Corporation. Keywords: artificial intelligence, art and entertainment, believable agents, interactive drama, Oz. A note on formatting This document was originally formatted using HTML. The postscript version was pro..
Interaction between pedestrians and automated vehicles: A Wizard of Oz experiment
No full textAutomated vehicles (AVs) will be introduced on public roads in the future, meaning that traditional vehicles and AVs will be sharing the urban space. There is currently little knowledge about the interaction between pedestrians and AVs from the point of view of the pedestrian in a real-life environment. Pedestrians may not know with which type of vehicle they are interacting, potentially leading to stress and altered crossing decisions. For example, pedestrians may show elevated stress and conservative crossing behavior when the AV driver does not make eye contact and performs a non-driving task instead. It is also possible that pedestrians assume that an AV would always yield (leading to short critical gaps). This study aimed to determine pedestrians’ crossing decisions when interacting with an AV as compared to when interacting with a traditional vehicle. We performed a study on a closed road section where participants (N = 24) encountered a Wizard of Oz AV and a traditional vehicle in a within-subject design. In the Wizard of Oz setup, a fake ‘driver’ sat on the driver seat while the vehicle was driven by the passenger by means of a joystick. Twenty scenarios were studied regarding vehicle conditions (traditional vehicle, ‘driver’ reading a newspaper, inattentive driver in a vehicle with “self-driving” sign on the roof, inattentive driver in a vehicle with “self-driving” signs on the hood and door, attentive driver), vehicle behavior (stopping vs. not stopping), and approach direction (left vs. right). Participants experienced each scenario once, in a randomized order. This allowed assessing the behavior of participants when interacting with AVs for the first time (no previous training or experience). Post-experiment interviews showed that about half of the participants thought that the vehicle was (sometimes) driven automatically. Measurements of the participants’ critical gap (i.e., the gap below which the participant will not attempt to begin crossing the street) and self-reported level of stress showed no statistically significant differences between the vehicle conditions. However, results from a post-experiment questionnaire indicated that most participants did perceive differences in vehicle appearance, and reported to have been influenced by these features. Future research could adopt more fine-grained behavioral measures, such as eye tracking, to determine how pedestrians react to AVs. Furthermore, we recommend examining the effectiveness of dynamic AV-to-pedestrian communication, such as artificial lights and gestures.Green Open Access added to TU Delft Institutional Repository ‘You share, we take care!’ – Taverne project https://www.openaccess.nl/en/you-share-we-take-care Otherwise as indicated in the copyright section: the publisher is the copyright holder of this work and the author uses the Dutch legislation to make this work public.Transport and PlanningBiomechatronics & Human-Machine Contro
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