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Sinã, conhecido entre os seus parentes pelo nome de “Luz Lilás”, homem de um imenso metro e noventa, cacique, mandou reunir a sua comunidade na oca central, a maior, situada no ponto mais alto do cimo da falésia, feita de massaranduba e sucupira – as madeiras mais resistentes – entrelaçadas com cipós de fogo. Pintaram-lhe o longo rosto com traços firmes, a geometria dos signos direcionada ao céu e à terra, protetores das suas gentes. Dessa vez as linhas marcadas na face de “Luz Lilás” eram mais simétricas do que o habitual, as tintas extraídas das sementes de urucu […]
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HISTÓRIAS DO BRASIL DE 1550: BISPO SARDINHA ASSADO NA BRASA Recostado na sua poltrona de madeira maciça, forrada a veludo grená, Mem de Sá decidiu autorizar um combate de vingança contra os índios que tinham esquartejado e comido assado o bispo Sardinha. O objetivo seria apanhá-los para os forçarem a trabalhar nas plantações de cana-de-açúcar, mas os soldados, na ânsia do desforço, dispararam sem descrição. Dos 12 mil catecúmenos das terras do extremo Norte da Paraíba sobraram pouco mais de mil. O fidalgo, nascido em 1500, tinha sido nomeado Governador-Geral do Brasil para pacificar a colónia, meter água […]
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Countless historical sites worldwide have become unrecognisable based on their historical context. Many are cultural heritage structures with significant historical and aesthetic importance. The majority have not been well preserved; worse, some were demolished (Stenning, 2015). Furthermore, structures are part of a dynamic and changing environment, and their location within the original landscape is not always clear. People have gradually forgotten cultural traditions as environments where historical stories took place, and the look and feel have been corrupted. Immersive Virtual Reality (V.R.) allows us to relive and explore the past. However, in the Pearl River Delta Region, specifically Macau S.A.R., V.R. is still in its infancy and is not frequently used for reproducing historical sceneries. Our research focuses on reproducing heritage structures and scenery based on scarce historical information. It shows how to incorporate facts and memories into the design and create engaging, immersive experiences in V.R. scenery that takes place, both inside and outside of a cultural heritage site that has lost its original appearance. Following this, a prototype was created with specific parameters relating to past and present sceneries. We partially reproduced an existing building complex currently being used for creative and commercial purposes, but it was a shelter for the poor and a house for old ladies to live in. There were not enough facts or images linked to the inner space in the past. Inadequate information allows audiovisual scene creators to be more imaginative. The prototype focuses on a functional design that integrates cultural traits tied to local industries. The researcher used image processing software, and web 3D tools (A-Frame 1.1.0). Users can navigate by virtually “walking” and starting the visual tour; simultaneously, the story unfolds as the timeline progresses. After entering, the users jump from the present to a specific era in the past. With audio guidance, users enter the private space, shared areas, working space, etc. Users can interact with objects from the virtual scenes while the interface displays relevant audiovisual introductions. Users could utilise the virtual system to learn how the old ladies led their daily lives in the Pearl River Delta Region and grasp the local single ladies’ group lifestyle at a specific time in the past (Kwong, 2020). The interactive experience enhances the users’ interest; additionally, the users become more familiar with the region’s traditional customs. With this approach, we can create old stories using modern technology. A-Frame provides users with great convenience and can be used by any Internet browser without relying on professional V.R. devices. The content from this usage provides a greater understanding of our heritage buildings and their historical context to the wider community. This could be used in other heritage sites worldwide to reproduce and maintain structural qualities over time. This immersive experience could be a means to navigate the past while in the present. This application could benefit exhibition developers, and visitors, notably in exhibition guided tours, virtual tours inside museums, or educational assisted historical storytelling.
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Virtual reality, a computer-generated 3D environment, allows one to navigate and possibly interact, resulting in real-time simulation of one or more of the user’s five senses (Gutierrez et al., 2008; Vince, 2004). Virtual tours and places have swiftly become popular in education, professional training, arts, exhibitions, and medication and rehabilitation. The empirical studies derived from the PhD thesis research aim to identify the conditions for Macao’s single-user experience to achieve mindfulness in virtual reality through immersion and interactivity.
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The main focus of this thesis was to characterize the patient information leaftlets as a text genre in Portugal, compare it with the same text genre in other countries and propose a new form of elaborating these documents in order to rise its comprehensibility levels. Therefore, we proceeded with an analysis of the patient information leaflet as a text genre and its relationship with text linguistics and translation. We also analyzed a corpus of 50 patient information leaflets with focus not only on its content, but also in the way they were created. In order to know the opinion of the general public, a survey about the situation of these documents in Portugal was distributed. In order to find the differences between these documents in different contexts, we made a comparison of a portuguese leaflet with leaflets from other countries. By last, we proposed a new writing scheme for these documents, reformulating one of the leaflets analyzed in the corpus and, to get the opinion of the general public, distributing a survey where the reformulated version was compared to the original one. The results point out to a lack of uniformity between documents and the way that they are created in pharmaceutical companies. The content of the patient informations leaflets in Portugal has an excess of text, technical language and a visual organization that is not appealing, problems that were also pointed out by the public in a survey. In the comparison between leaflets of different countries, big differences were found even when they were produced by the same company. When confronted with the original version and the reformulated version of the same document, the general public prefered the latter.
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In the past decades, the field of cinema has undergone several transformations. The digital turn increasingly called for new forms of production, distribution, and exhibition, which imply different ways of thinking, doing, and experimenting cinema. These new forms also reduced the gap between cinema to other so-called visual arts. If cinema and visual arts were already in the process of merging, the last years forced the naturalization of thinking in similar theoretical grounds. This special issue aims to be a forum for the discussion of new practices of researching cinema, and the changes in cinema’s forms of experience and production.
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This study, focusing on the China's Yao minority community, investigates the feasibility to create a generative computational method to replicate the diversity of the existing Yao traditional wood buildings, addressing the critical issues currently facing computational design methods, in the attempt to adapt genetic-generative algorithms to the study of local ancient architecture. The project develops a computational tool to generate a network of three-dimensional prototypes, or building structures, derived from traditional wood frame village houses. It studies possible housing structures that illustrate some of the key working methods available in digital systems such as ‘generating' and ‘compositing' taking as a starting point computational strategies oriented towards geometry and where a set of local variables play a decisive role: available local technologies, use of raw materials, and the dimensioning of timber components based on data collected from Yao architecture.
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The design thinking methodology is a problem-solving approach that involves empathising with end-users, (re)defining problems, brainstorming solutions creatively, and experimenting with prototypes and testing. It has been widely adopted in education to help students develop critical thinking, creativity, and problem-solving skills in design. On the other hand, text-to-image artificial intelligence is a method used to generate images from natural language descriptors (usually referred to as prompts). Design thinking methodology can teach students to think creatively and critically about real-world problems when applied in the classroom. In the context of design teaching at the University of Saint Joseph, Macao, students use the design thinking methodology to develop innovative proposals for furniture design solutions. Combining design thinking methodologies with text-to-image artificial intelligence can further enhance the learning experience by allowing students to generate visual representations of their ideas during the ideation phase. The authors developed a systematic approach to generate images for ideation on furniture design based on prompting text-to-image (PTI). The analysis related students’ results who applied the design thinking methodology without using AI tools and the results generated using a standard text-to-image programme. By combining both methods, teachers can help students develop critical thinking, creativity, and problem-solving skills, while also allowing them to generate visual representations in a different paradigm and, by so, being able to communicate their ideas with the most appropriate support for them.
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Design for Classroom Units: A Collaborative Multicultural Studio Development with Chinese Students
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Various materials, objects, and sensors have been explored earlier for creating tangible user interfaces (TUIs). However, there is little work on 3D-printed TUIs based on visual markers for smartphone-based extended reality (XR) experiences. The combination of visual markers and smartphones results in cheap, accessible XR systems within reach of many people. Combined with 3D printing, it could foster do-it-yourself (DIY) projects for XR experiences, which may further expand and open-up possibilities for accessible and tangible interaction. This work explores the design space of modular 3D-printed tangibles for smartphone-based XR. The authors report the design exploration process, provide several interactive 3D-printed markers, and reflect on the resulting possibilities.
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Nessa noite decidiram hospedar-se num motel pois queriam acordar às 3.45 para ver o primeiro sol das Américas na Ponta de Seixas, João Pessoa, Paraíba. Subiram à torre do Nazareno às 4.45 e, quando já pensavam que as nuvens não iam deixar assistir ao nascer de mais um dia aprazível, eis que ele, o senhor rei dos dias, surge do mar. Enquanto os olhos brilhavam ao sol, lembrou-se que Chico César era dali perto, do interior da Paraíba, para as bandas de Campina Grande. Recordou que a primeira vez que tentou olhá-lo nos olhos percebeu que ele estava envolvido numa […]
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