CAC2-Artigos (em revistas ou actas indexadas)
URI permanente para esta coleção:
Conteúdo: Artigos em revistas ou actas de conferências indexadas
a) incluídas na
a) incluídas na
- » Web of Science
- (v. www.webofknowledge.com)
- » ERIH
- (European Research Index for Humanities: erihplus)
- » Latindex
- (Sistema Regional de Información para Revistas Científicas de América Latina, Caribe, España y Portugal: latindex.unam.mx)
- » Scielo
- (Scientific Electronic Library Online: www.scielo.org)
- » Scopus SJR
- (SCImago Journal & Country Rank: www.scimagojr.com)
Navegar
Percorrer CAC2-Artigos (em revistas ou actas indexadas) por Objetivos de Desenvolvimento Sustentável (ODS) "09:Indústria, Inovação e Infraestruturas"
A mostrar 1 - 7 de 7
Resultados por página
Opções de ordenação
- Arte figital: taxonomia e análise das dimensões híbridas na experiência estética contemporâneaPublication . Ribeiro Caldeira, Nelson Francisco; Veiga, Pedro Jorge Agostinho Alves da; Cordeiro, João Miguel Magalhães Marcelino FernandesThis article examines the integration of physical and digital elements in contemporary artistic expression, introducing the term phygital art, derived from the concept of phygital. This term describes hybrid experiences that combine tangible and virtual components. Phygital art represents a collaborative fusion between the physical (phy-) and digital (-gital), wherein both components mutually influence one another, enabling new forms of artistic expression and audience engagement. To analyze these dynamics, a taxonomy is proposed, comprising six main categories: physical-digital integration, audience engagement, interactivity, bodily involvement, sensory experience, and conceptual depth. This framework provides a comprehensive evaluation of the diverse facets of the phygital experience, grounded in theories from authors such as Manovich, Grau, Dewey, and Veiga, among others. To test the robustness and validity of this taxonomy, it was applied to three representative works: Rain Room, The Treachery of Sanctuary, and Unnumbered Sparks. These works were analyzed comparatively, highlighting their unique positions within the phygital spectrum. The application of this taxonomic model proved effective in identifying the balance between physical and digital components and assessing audience involvement on multiple levels. A classification table and radar chart provide a clear visualization of each work’s position, illustrating their varied approaches. The flexibility of this taxonomy establishes it as a valuable tool for analyzing and understanding phygital art, supporting innovation and interactivity in a context where the tangible and virtual increasingly converge in complex and meaningful ways.
- Development of the beliefs in human nature uniqueness scale and Its associations with perception of social robotsPublication . Giger, Jean-Christophe; Piçarra, Nuno; Pochwatko, Grzegorz; Almeida, Nuno; Almeida, Ana Susana Rocio Gonçalves de ; Costa, NeuzaThere is an actual trend for humanizing technological artifacts, especially social robots. However, human-like social robots trigger negative attitudes by threatening human uniqueness as well as humanness. The present paper presents the development of the Belief in Human Nature Uniqueness Scale (BHNUS) to assess the individual tendency to deny social robots the possibility to have human features considered to be the hallmarks of humanness. The validation of the BHNUS was completed along seven studies, with a total of 1044 Portuguese participants. Results showed that BHNUS had good structural qualities (Studies 1 and 2), as well as good convergent and discriminant validities. BHNUS was correlated with negative attitudes towards robots, religiosity, and interest for science fiction (Study 3), attribution of traits of warmth to robots (Study 4), positive and negative emotional appraisal (Study 5), perspective taking (Study 6), and attitudes towards the development of robots with human features (Study 7). The importance of the BHNUS regarding the development of social robots and human–robot interaction is discussed. If you were to insist I was a robot, you might not consider me capable of love in some mystic human sense, but you would not be able to distinguish my reactions from that which you would call love so what difference would it make? Isaac Asimov (1982) in Foundation’s Edge, p. 420
- From concept to exhibition: on the creative process of an AI-driven stereoscopic video installationPublication . Amorim, Marta; Many, ÉricThis paper explores the creative process surrounding spectral spaces, an AI-driven video installation that reinterprets stereoscopic imaging through contemporary digital techniques. By combining generative AI with optical principles, the work challenges conventional visual perception, creating an unstable, fluctuating field of engagement. The installation adopts a structured viewing approach that encourages an individualized interaction, heightening awareness of the act of seeing. Through a juxtaposition of historical apparatuses and algorithmically generated imagery, it examines the evolving relationship between materiality and digital intangibility. Audience responses gathered during its exhibition provided insights into the perceptual dynamics at play, revealing how the interplay of stereoscopy and artificial intelligence fosters sustained exploration and introspection. The findings suggest that this approach not only expands the expressive possibilities of stereoscopic media but also raises critical questions about the mediation of vision through technology, illustrating how reimagined historical techniques can inform and transform contemporary artistic practices.
- O método a/r/cográfico no desenvolvimento do processo criativo dos alunos do 6.º ano do ensino básico: a articulação entre a Educação Artística e as TIC na criação de uma exposição digital em Território Educativo de Intervenção Prioritária (TEIP)Publication . Mestre, RicardoO processo criativo é uma jornada pessoal e dinâmica, caracterizada por um ciclo contínuo de inspiração, exploração e expressão, no qual a mente criativa se expande entre os limites do possível e do impossível. A educação artística, enquanto processo de ensino e aprendizagem, desempenha um papel essencial no desenvolvimento integral do indivíduo. Paralelamente, as tecnologias de informação e comunicação promovem a difusão rápida de conteúdos, influenciando a identidade e os meios de comunicação, permitindo a evolução das abordagens culturais e sociais. A a/r/cografia estrutura o processo criativo em sete fases: inspiração, gatilho, intenção, conceptualização, prototipagem, teste e intervenção. Esta metodologia admite a reformulação de ideias, permitindo a articulação entre as fases metodológicas e o planeamento do projeto. No âmbito deste projeto, os alunos foram desafiados a criar uma obra de arte digital em pequenos grupos, recorrendo à edição de imagem, com o objetivo de construir uma exposição digital interturmas. A atividade teve como ponto de partida a questão “Se eu fosse um artista, o que gostaria de mudar no mundo?”, incentivando os alunos a escolherem temas que refletissem os seus interesses e preocupações.
- The online teaching of the performing arts in higher education in a context of confinement as a creativity challengePublication . Carvalho, Ana; Vieira, Célia; Santos, Inês Guerra; Sapucaia Rocha Rocha, RosimáriaThe expansion of cyberperformance has been noticeable through the growing access and effective development of digital technologies for the performing arts and reinforced within the pandemic scenario of the last two years. For educational institutions, namely higher education, and especially in the creative sector, creativity has become the keyword for the adaptation to a new reality that has led teachers and artists to experiment with models for online performance for their capacity to reinvent methodologies and forms of interaction. This text presents the first results of the research project CyPet. Based on these first results, it is intended to map the panorama of the performing arts both in the context of online/hybrid teaching and practice and consequently, as the outcome, to propose a new pedagogical model for both higher education and the artistic post-pandemic reality.
- Propostas para uma ficção vivaPublication . Silva Cavalcante Júnior, Francisco; Tavares, Mirian; de Queiroz Carneiro Dourado, Ana Patricia; costa, susana; C. Martins, Ana FilipaEm escrever é muito perigoso (2023), a escritora polonesa Olga Tokarczuk, ao falar sobre seu processo de criação, lembra-nos de que o mecanismo do tempo é carne (matéria viva) – e faz questão de colocar isso entre parênteses, como um aparte, um memo, para que não esqueçamos que afinal é este o assunto. Este número da rotura, que dedicou um Dossier ao pensamento ficcional e à urgência de refletir sobre a matéria viva da ficção, reuniu uma coleção de textos que contribuem com essa visão. Tokarczuk acredita que “só a ficção, com seu potencial para construir uma pessoa inteira, tem vantagem sobre os argumentos da razão”. Não discordamos da escritora e, neste Dossier, buscamos somar aos argumentos da razão a observação atenta de experiências – um feixe amplo delas – de diferentes gestos de ficcionar (entre o audiovisual, a poesia, a música, a performance, as artes visuais etc.), em estreito diálogo com os estudos dos processos de criação, como modos de resistir ao adormecimento dos sentidos e às histórias sem viço que a sociedade, cada dia mais automatizada, ofecere-nos. Compõem este acervo uma confluência de diferentes géneros textuais e artísticos, alguns deles a estrear, como o Relato de Processo e o Ensaio Visual, que se juntam a outros já recorrentes na revista, como o Artigo, o Ensaio, a Entrevista e a Crónica de Arte.
- Prospective workflows for generative AI-assisted immersive illustration: the case of multiplicityPublication . Sgrinzatto, Chiara Masiero; Araujo, AntonioThe introduction of generative AI into the field of immersive illustration threatens to displace both the knowledge of perspective and the practice of drawing as the main tools of this very technical branch of illustration. Yet for many illustrators this type of technical drawing is not just a tool but an end in itself. We consider what future workflows may accommodate both AI and handmade drawing in a way compatible with the market realities of illustration, and we illustrate our reflections with the case study of MultipliCity, an installation exploring and representing the interplay between myth and reality in the Venetian urban environment.