1,721,034 research outputs found
Plan de negocios: Riki
No full textFil: Flores, Candela Rocio. Universidad de San Andrés. Escuela de Negocios; Argentina.Fil: Lanfranco, Benjamín. Universidad de San Andrés. Escuela de Negocios; Argentina.Fil: Pawluk, Martina Andrea. Universidad de San Andrés. Escuela de Negocios; Argentina
Virtual Heritage: new technologies for edutainment
Full text linkCultural heritage represents an enormous amount of information and knowledge. Accessing this treasure chest allows not only to discover the legacy of physical and intangible attributes of the past but also to provide a better understanding of the present. Museums and cultural institutions have to face the problem of providing access to and communicating these cultural contents to a wide and assorted audience, meeting the expectations and interests of the reference end-users and relying on the most appropriate tools available.
Given the large amount of existing tangible and intangible heritage, artistic, historical and cultural contents, what can be done to preserve and properly disseminate their heritage significance? How can these items be disseminated in the proper way to the public, taking into account their enormous heterogeneity?
Answering this question requires to deal as well with another aspect of the problem: the evolution of culture, literacy and society during the last decades of 20th century. To reflect such transformations, this period witnessed a shift in the museum’s focus from the aesthetic value of museum artifacts to the historical and artistic information they encompass, and a change into the museums’ role from a mere "container" of cultural objects to a "narrative space" able to explain, describe, and revive the historical material in order to attract and entertain visitors. These developments require creating novel exhibits, able to tell stories about the objects and enabling visitors to construct semantic meanings around them. The objective that museums presently pursue is reflected by the concept of Edutainment, Education + Entertainment. Nowadays, visitors are not satisfied with ‘learning something’, but would rather engage in an ‘experience of learning’, or ‘learning for fun’, being active actors and players in their own cultural experience.
As a result, institutions are faced with several new problems, like the need to communicate with people from different age groups and different cultural backgrounds, the change in people attitude due to the massive and unexpected diffusion of technology into everyday life, the need to design the visit by a personal point of view, leading to a high level of customization that allows visitors to shape their path according to their characteristics and interests.
In order to cope with these issues, I investigated several approaches. In particular, I focused on Virtual Learning Environments (VLE): real-time interactive virtual environments where visitors can experience a journey through time and space, being immersed into the original historical, cultural and artistic context of the work of arts on display. VLE can strongly help archivists and exhibit designers, allowing to create new interesting and captivating ways to present cultural materials.
In this dissertation I will tackle many of the different dimensions related to the creation of a cultural virtual experience. During my research project, the entire pipeline involved into the development and deployment of VLE has been investigated. The approach followed was to analyze in details the main sub-problems to face, in order to better focus on specific issues.
Therefore, I first analyzed different approaches to an effective recreation of the historical and cultural context of heritage contents, which is ultimately aimed at an effective transfer of knowledge to the end-users. In particular, I identified the enhancement of the users’ sense of presence in VLE as one of the main tools to reach this objective. Presence is generally expressed as the perception of 'being there', i.e. the subjective belief of users that they are in a certain place, even if they know that the experience is mediated by the computer. Presence is related to the number of senses involved by the VLE and to the quality of the sensorial stimuli. But in a cultural scenario, this is not sufficient as the cultural presence plays a relevant role. Cultural presence is not just a feeling of 'being there' but of being - not only physically, but also socially, culturally - 'there and then'. In other words, the VLE must be able to transfer not only the appearance, but also all the significance and characteristics of the context that makes it a place and both the environment and the context become tools capable of transferring the cultural significance of a historic place. The attention that users pay to the mediated environment is another aspect that contributes to presence. Attention is related to users’ focalization and concentration and to their interests. Thus, in order to improve the involvement and capture the attention of users, I investigated in my work the adoption of narratives and storytelling experiences, which can help people making sense of history and culture, and of gamification approaches, which explore the use of game thinking and game mechanics in cultural contexts, thus engaging users while disseminating cultural contents and, why not?, letting them have fun during this process.
Another dimension related to the effectiveness of any VLE is also the quality of the user experience (UX). User interaction, with both the virtual environment and its digital contents, is one of the main elements affecting UX. With respect to this I focused on one of the most recent and promising approaches: the natural interaction, which is based on the idea that persons need to interact with technology in the same way they are used to interact with the real world in everyday life.
Then, I focused on the problem of presenting, displaying and communicating contents. VLE represent an ideal presentation layer, being multiplatform hypermedia applications where users are free to interact with the virtual reconstructions by choosing their own visiting path. Cultural items, embedded into the environment, can be accessed by users according to their own curiosity and interests, with the support of narrative structures, which can guide them through the exploration of the virtual spaces, and conceptual maps, which help building meaningful connections between cultural items. Thus, VLE environments can even be seen as visual interfaces to DBs of cultural contents. Users can navigate the VE as if they were browsing the DB contents, exploiting both text-based queries and visual-based queries, provided by the re-contextualization of the objects into their original spaces, whose virtual exploration can provide new insights on specific elements and improve the awareness of relationships between objects in the database.
Finally, I have explored the mobile dimension, which became absolutely relevant in the last period. Nowadays, off-the-shelf consumer devices as smartphones and tablets guarantees amazing computing capabilities, support for rich multimedia contents, geo-localization and high network bandwidth. Thus, mobile devices can support users in mobility and detect the user context, thus allowing to develop a plethora of location-based services, from way-finding to the contextualized communication of cultural contents, aimed at providing a meaningful exploration of exhibits and cultural or tourist sites according to visitors’ personal interest and curiosity
Helpless
No full textEste cuento trata sobre el renacimiento y la liberación personal. Amparo, la protagonista, experimenta un proceso de transformación emocional que la lleva a dejar atrás las barreras que la oprimían. A través de imágenes poéticas, como las raíces arrancadas y las lágrimas que riegan un nuevo camino, el relato simboliza el acto de romper con el pasado para florecer y respirar una nueva vida. Florecer implica aceptar la vulnerabilidad, enfrentar los cambios y adaptarse a todas las etapas de crecimiento, como si fueran las estaciones de la naturaleza. Es una historia de resiliencia y esperanza.Escritores: Albornoz, Kevin
Ilustrador/Estudiante: Brini, Martina Andrea
Docente coordinador: Mallo, Roberto - Turno mañana
Área: Comunicación Visual
Audiencia: Infantil 2: 8 a 12 años
Institución beneficiaria seleccionada: JBA. Juan Bautista Alberdi-Isidro Casanova.Facultad de ArtesInfantil 2: 8 a 12 año
Beyond the picture
No full textIn this paper we present "Beyond the picture", an interactive application developed for enjoying paintings by immersing visitors into them and exploiting natural interaction to navigate their contents. The visitor is provided with the capability to modify the viewpoint on the painting by changing its observation position. Visitor's head movement are captured with a computer vision system and used to render a novel view of a realistic 3D reconstruction of the painting. Therefore, the display becomes a window on the picture, from which the user can navigate and inspect the rebuilt environment. This enables to immerse viewers into the representation of history fixed on canvas by the painte
Using Virtual Environments as a Visual Interface for Accessing Cultural Database Contents
Full text linkCultural institutions have to deal with an enormous amount of data, which are stored in cultural databases usually designed for and managed by professionals. Difficulties in accessing such databases usually preclude or limit their use for the general public. Moreover, in the historic, artistic and cultural areas, an important part of the information associated to an object is related to its original historical and spatial context, an evidence that is often not disclosed, or is difficult to explain, to the non experts. For this reason, it is important to try to re-contextualize - where possible - the elements of cultural collections in the places where these objects were in the past. To this end, in this work we propose the integration of databases and Virtual Reality technologies to develop novel visual interfaces to improve the accessibility, for the non experts, to the contents of cultural databases. Virtual Reality is used to re-create the contextual environment of the objects in the database, which can be explored to gain new insights on specific elements and to improve the awareness of relationships between them. The use of two different types of Virtual Environments has been investigated in the development of the proposed visual interfaces. Results of their evaluation by a user panel, in order to assess the accessibility and effectiveness of both interfaces in relation to each other and with a classic text-based interface, are also presente
LE COLLABORAZIONI ORGANIZZATE DAL COMMITTENTE AI TEMPI DELLEPIATTAFORMI DIGITALI
No full textLa presente ricerca intende affrontare due questioni tra loro interconnesse. La prima potrebbe definirsi, ormai, un esercizio ineludibile per tutti coloro che intendono confrontarsi con le categorie fondamentali del diritto del lavoro: alludiamo, quindi, alla nota questione della collocazione sistematica e, prima ancora, del modo d’essere delle collaborazioni organizzate dal committente. Si tratta, infatti, di un tema che ha visto cimentarsi l’intera “accademia” del diritto del lavoro e, tuttavia, sembra adesso possibile svolgere una sintesi ragionata sulle opinioni presentate dalla dottrina, grazie alla visuale privilegiata di chi si approccia a tale esercizio “a valle” dell’intervento di interpretazione “autentica” dell’art. 15 del d.lgs. 81 del 2017 nonché dei primi pronunciamenti giurisprudenziali. Il secondo quesito che si intende affrontare è ben espresso dall’ultimo spunto ricostruttivo offerto in merito alla vicenda delle collaborazioni etero organizzate, e cioè se la nuova disciplina offra «maggiore tutele alle nuove fattispecie di lavoro che, a seguito della evoluzione e della relativa introduzione sempre più accelerata delle recenti tecnologie, si stanno sviluppando». L’art. 2 del d.lgs. 81/2015, disponendo che “si applica” la disciplina del rapporto di lavoro subordinato “anche” ai rapporti di collaborazione che si concretano in prestazioni di lavoro esclusivamente personali e continuative, a condizione che le modalità di esecuzione siano organizzate dal committente anche in relazione ai tempi ed al luogo di lavoro, è destinato ad operare nell’area assai controversa del lavoro personale continuativo prestato nell’altrui interesse. E ciò, allo scopo di mettere ordine al noto problema delle prestazioni di lavoro sulla frontiera tra subordinazione e autonomia, al quale il lavoro a progetto non aveva saputo dare una risposta adeguata. Nel presente elaborato, si procederà, anzitutto, alla ricostruzione dello summa divisio che caratterizza la nostra materia e con la quale devono, sempre, confrontarsi tutte le “nozioni” che intercettano e descrivono un modo d’essere di una prestazione di lavoro.
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In secondo luogo, ripercorreremo, sinteticamente, le vicende del lavoro coordinato che hanno preceduto l’introduzione della figura delle collaborazioni organizzate dal committente e ciò, per un duplice ordine di considerazioni: da un lato, è la formulazione della norma dell’art. 2 del d.lgs. 81 del 2015 a richiamare elementi di fattispecie delle collaborazioni “autonome” ex art. 409 c.p.c., per cui è ineludibile riferirsi al modello genetico per chiarire il significato e le divergenze della nuova disciplina; dall’altro, da un punto di vista certamente “cronologico” e, come si vedrà, anche “logico”, la disciplina delle collaborazioni organizzate dal committente eredita l’ingrata funzione anti elusiva del lavoro a progetto. Allo scopo di comprendere il terreno elettivo delle collaborazioni etero organizzate, e quindi la “zona grigia”, sarà opportuno spiegare, brevemente, i mutamenti avvenuti nei paradigmi economico – produttivi che hanno contribuito allo scollamento del modo di prestare lavoro rispetto al binomio oppositivo accolto nel nostro codice civile. Allo stesso tempo, si dovrà dare conto delle diverse “stagioni della giurisprudenza” nazionale sulla subordinazione perché, in un sistema a «categorie mutualmente esclusive e complessivamente esaustive», le flessioni di un polo comportano ripercussioni complementari all’altro capo. A questo punto, si affronterà in dettaglio la prima questione del presente elaborato. Si tenterà di delineare i tratti fisionomici delle collaborazioni organizzate dal committente e, conseguentemente, si analizzeranno partitamente i requisiti costitutivi della fattispecie fotografata dal primo comma dell’art. 2 del d.lgs. 81 del 2015: esclusiva personalità della prestazione; continuità ed etero-organizzazione “anche” dei tempi e del luogo della prestazione. Dopo aver qualificato il modo d’essere collaboratori etero organizzati, si potrà affrontare con maggiore consapevolezza la questione dell’inquadramento teorico, non prima però di aver svolto qualche considerazione sulla tecnica legislativa impiegata dal Legislatore.
La questione dell’inquadramento teorico delle collaborazioni organizzate dal committente è stata ed è tuttora al centro del dibattito segnalato in apertura, anche a seguito della prima applicazione giurisprudenziale della disposizione.
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Conseguentemente, non si potrà fare a meno di fornire e incasellare le principali letture proposte dagli operatori del diritto, osservando come le stesse si risolvono, in ultima analisi, nella riconduzione delle collaborazioni ex art. 2 del d.lgs. 81 del 2015 ora all’area del lavoro subordinato ora a quella del lavoro autonomo. A prima vista, siffatta diatriba potrebbe sembrare prima di risvolti pratici posto che, a prescindere da qualsivoglia ricostruzione dogmatica si scelga, alle collaborazioni organizzate dal committente si applicherà, comunque, la disciplina del rapporto di lavoro subordinato come stabilito espressamente dall’art. 2, d.lgs. 81/2015. E, tuttavia, è bene sin d’ora ricordare che secondo alcuni orientamenti, di cui si darà conto, la scelta esegetica inciderebbe in ordine alla selezione delle norme dello statuto del lavoro subordinato concretamente estendibili alle collaborazioni organizzate dal committente. Una volta fornita l’interpretazione “autentica” delle collaborazioni etero organizzate e chiarito il quantum di disciplina della subordinazione che si applica a mente dell’art. 2, si potrà procedere all’indagine sulla seconda questione oggetto del presente elaborato: si metterà l’interpretazione raggiunta alla prova del mondo del lavoro digitale. Specificatamente, si analizzerà il modello operativo ed organizzativo del lavoro prestato nelle piattaforme digitali, identificandone elementi comuni e tratti differenziali sia rispetto al tradizionale lavoro “sconnesso” e sia tra le differenti ed eterogenee realtà che lo “rappresentano”. Si procederà, quindi, a verificare se le tradizionali categorie dell’autonomia e della subordinazione siano in grado di “intercettare” tale fenomeno lavorativo e di produrre un sistema di tutela soddisfacente, sperimentando altresì la nuova disposizione delle collaborazioni organizzate dal committente.
Da ultimo, anticipando gli esiti deludenti della verifica sopra tratteggiata, si prenderà posizione sulle tecniche di regolazione del lavoro digitale e sulle modalità di imputazione delle tutele al prestatore di lavoro nella piattaforma.This thesis aims to address two interrelated research questions.
The first one has now become an inescapable intellectual exercise for anybody dealing with the fundamental categories of labor law. Specifically, we allude to the well-known topic of the systematic effects and, before that, of the way of being of the collaborations hetero-organized by the client introduced by art. 2, Legislative Decree n. 81/2015.
Indeed, the entire "academy of labor law” has been offering multiple interpretations since the introduction of this legal category without coming to an agreed solution. However, it is now possible to carry out a final synthesis of the doctrine thanks to the privileged view of whom investigates this research question after the "authentic" interpretation provided by art. 15 of Legislative Decree 81 of 2017 and the first rulings.
The second research question that we will address concerns the analysis of the provisions governing the hetero-organized work and, specifically, if this new category offers a better (or, at least, sufficient) protection on the new digital work scenarios in comparison with the traditional rights of subordinate work.
Article. 2 of Legislative Decree 81/2015, by establishing that "subordinate work protective statute" also "applies" to collaborative work performed continuously and exclusively by an individual worker, providing that the methods of execution are hetero-organized by the client “also in relation to time and place of work”, will intercept the activities falling in the very controversial area of continuous personal work in the interest of a second party. By doing this, this new legal category should address the “ancestral” question of the qualification of the workers performing on the frontier between subordination and autonomy, to which the so called “project work” category had proven not to be able to give an adequate solution.
Consequently, we will proceed first to a brief historical analysis of the traditional labor law categories of subordinate work and autonomy against which any new legal category has to be compared.
Secondly, we will review the main stages and regulations of the work carried out under a coordinate way with the client that precede the legal category of the collaborations hetero-organized by the client for the following purposes: on the one hand, the legal words used by the art. 2 of Legislative Decree 81 of 2015 inevitably recall requirements of the “old” category of the autonomous collaborations pursuant to art. 409 c.p.c. Therefore, it is mandatory to investigate the “genetic model” to clarify the meaning of the new discipline.
On the other hand, both from a "chronological" and "logical" point of view, the provisions for the collaborations hetero-organized by the client “inherit” the anti-elusive spirit and goal of the “project work”. In order to understand the targeted work performances of the hetero-organized collaborations, it will be useful to explain the changes that have taken place in the economic-productive paradigms that have contributed to the detachment of the way of working with respect to the binary system model between subordinate work and autonomy accepted in our civil code.
At the same time, we will analyze and categorize the main historical stages of the Italian Jurisprudence on qualification of works since in a system of "mutually exclusive and overall exhaustive categories", the decline of a legal category generates a complementary effect on the other.
At this point, the first research question will be discussed in details. We will attempt to outline the key “features” of the collaborations hetero-organized by the client and, consequently, we will analyze the requirements of the work scenario “portrayed” by the first paragraph of art. 2 of Legislative Decree 81 of 2015: an exclusively personal work; continuity and hetero-organization "also" of the time and place of the collaboration. Once identified the key features of the new category, it will be possible to challenge the research question concerning the theoretical framework where the collaborations hetero-organized by the client should fall. To address this question, we will first provide the principal interpretations proposed by the legal practitioners which, eventually, link the new category of the collaborations pursuant to art. 2 of Legislative Decree 81 of 2015 to one of the traditional binary categories of subordinate work or self-employment. At first glance, such radical opposition does not seem to yield any practical implications given that, the collaborations hetero-organized by the client will be ruled according to the provisions set for subordinate work as established expressly by the art. 2, Legislative Decree 81/2015. Nevertheless, it has to be acknowledged that according to some doctrines the theoretical framework choice affects the provisions that can be concretely extended to the collaborations hetero-organized by the client. Once provided the "authentic" interpretation of the new legal category and clarified the “quantum” of discipline of the subordination work that applies to hetero-organized works as per art. 2, it will be possible to proceed with the second research question: we will test the new category against the digital work scenario. Specifically, we will analyze the operational and organizational model of the work performed within a “digital work platform”, identifying common elements and differential traits with respect to both traditional "offline-work” and all the multiple forms in which the digital works take place. We will therefore proceed to verify if the traditional binary categories of autonomy and subordination are able to "intercept" and “qualify” this recent work phenomenon and contribute to a fair protection of digital workers. Finally, anticipating the disappointing outcomes of the above mentioned investigation, we will take a position on digital job regulation techniques thus suggesting a possible way to protect the employee in the working platforms
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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