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Purpose Individuals with different types of intermittent exotropia (IXT) may use neurally coupled accommodation and vergence responses differently from those without exotropia to achieve eye alignment. This study examined the relationship between simultaneously recorded accommodation and vergence responses in children and young adults with a range of types of IXT while aligned and deviated. Methods Responses of 29 participants with IXT (4–31¿years) and 24 age-matched controls were recorded using simultaneous eye-tracking and eccentric photorefraction while they watched a movie in binocular or monocular viewing at varying viewing distances. Gradient response AC/A ratios and fusional vergence ranges were also assessed. Eight participants had divergence or pseudo-divergence excess type IXT, 5 had convergence insufficiency and 16 had basic IXT. Results Control and IXT participants accommodated similarly both in monocular and binocular-aligned conditions to visual targets at 80 and 33¿cm. When deviated in binocular viewing, most participants with IXT exhibited changes in accommodation <0.5D relative to alignment. Gradient response AC/A ratios were similar for control [0.56 MA/D (IQR: 0.51 MA/D)] and IXT participants [0.42 MA/D (0.54 MA/D); p =¿0.60]. IXT participants showed larger vergence to accommodation ratios with changes from distance to near fixation [1.19 MA/D (1.45 MA/D)] than control participants [0.78 MA/D (0.60 MA/D); p =¿0.02], especially among IXT participants with divergence or pseudo-divergence excess. Participants with IXT exhibited typical fusional divergence ranges beyond their dissociated position [8.86 ¿ (7.10 ¿)] and typical fusional convergence ranges from alignment [18 ¿ (15.75 ¿)]. Conclusions This study suggests that control of IXT is typically neither driven by accommodative convergence alone nor associated with over-accommodation secondary to fusional convergence efforts. These simultaneous measurements confirmed that proximal vergence contribu, This study was supported by National Institutes of Health grant R01 EY014460 (TRC), P30 EY019008 to Indiana University, and an unrestricted grant to the University of Washington Department of Ophthalmology from Research to Prevent Blindness (New York, NY)., Peer Reviewed, Postprint (published version)

Al observar un producto audiovisual bien realizado el espectador conecta y como efecto siente. Pero esas emociones no son el resultado de la casualidad y espontaneidad del momento, sino que, cada plano, composición, color, personaje, localización etc, son el resultado de un estudio reflexivo de aquello que se quiere transmitir. Y desde esta premisa parten mis inquietudes en la creación de este trabajo: ¿cómo se lleva a cabo el proceso de creación de una película de animación?, ¿qué metodología emplean en la creación visual? y, ¿cómo puedo implementarla en mis creaciones? Para abordar estas cuestiones, he creado una propuesta artística basada en una hipotética película de animación llamada “Strangers in the Dark”.

PURPOSE Human vision has a puzzling stereoscopic anisotropy: horizontal depth corrugations are easier to detect than vertical depth corrugations. To date, little is known about the function or the underlying mechanism responsible for this anisotropy. Here, we aim to find out whether this anisotropy is independent of age. To answer this, we compare detection thresholds for horizontal and vertical depth corrugations as a function of age. METHODS The depth corrugations were defined solely by the horizontal disparity of random dot patterns. The disparities depicted a horizontal or vertical sinusoidal depth corrugation of spatial frequency 0.1 cyc/deg. Detection thresholds were obtained using Bayesian adaptive staircases from a total of 159 subjects aged from 3 to 73 years. For each participant we computed the anisotropy index, defined as the log10-ratio of the detection threshold for vertical corrugations divided by that for horizontal. RESULTS Anisotropy index was highly variable between individuals but was positive in 87% of the participants. There was a significant correlation between anisotropy index and log-age (r = 0.21, P = 0.008) mainly driven by a significant difference between children and adults. In 67 children aged 3 to 13 years, the mean anisotropy index was 0.34 ± 0.38 (mean ± SD, meaning that vertical thresholds were on average 2.2 times the horizontal ones), compared with 0.59 ± 0.55 in 84 adults aged 18 to 73 years (vertical 3.9 times horizontal). This was mainly driven by a decline in the sensitivity to vertical corrugations. Children had poorer stereoacuity than adults, but had similar sensitivity to adults for horizontal corrugations and were actually more sensitive than adults to vertical corrugations. CONCLUSIONS The fact that adults show stronger stereo anisotropy than children raises the possibility that visual experience plays a critical role in developing and strengthening the stereo anisotropy., Ministerio de Economía y Competitividad (MINECO), Health Innovation Challenge Fund, Depto. de Psicología Experimental, Procesos Cognitivos y Logopedia, Fac. de Psicología, TRUE, pub

[Resumen] El artículo establece un paralelismo entre el arte de concepto desarrollado en industrias creadoras de mundos como los videojuegos y la animación y los procesos gráficos creativos de la arquitectura. Se ponen en relación estrategias de pre-producción, como los dibujos conceptuales, el guion de color o los bocetos en miniatura, con los dibujos de estudio, los dibujos secuenciales o las visiones seriales que definen la experiencia y la narrativa gráfica arquitectónica. La coherencia entre las distintas estrategias visuales para explorar la idea y el propósito comunicativo del proyecto podría ser útil en el diseño arquitectónico al considerar cuestiones vinculadas a la percepción experiencial y emocional. Los hallazgos muestran una metodología de desarrollo visual basada en el análisis del diseño de la idea., [Abstract] This research delves into the creative graphic processes of architecture and concept art, a stage of visual development in world-creating industries such as video games and animation. The authors relate pre-production strategies such as conceptual drawings, colour scripts or thumbnail sketches with study drawings, sequential drawings or serial visions that define the experience and architectural narrative. The suitable coherence between the visual strategies to explore the idea and the communicative purpose could be useful in architectural design as considering experiential and emotional perception. The findings bring to light a visual development methodology based on design analysis.

[Resumen] El proyecto de “Arte de Fae” consiste en el desarrollo visual del relato original “Fae” escrito por Ophelia Silk (@linkedsoul) en la red social Tumblr. El diseño de este Trabajo Fin de Grado tendrá como misión principal desarrollar una narrativa visual del relato a través del arte de concepto de personajes y escenarios para llegar a una propuesta de storyboard y un color script. Además, se realizará el modelo 3D texturizado de uno de los personajes principales del relato. Por último, el producto final consistirá en un libro de arte y una videoreel que recoja el proceso de trabajo y muestre el acabado final del proyecto., [Resumo] O proxecto de “Arte de Fae” consiste no desenvolvemento visual do relato orixinal “Fae” escrito por Ophelia Silk (@linkedsoul) na rede social Tumblr. O deseño deste traballo de Fin de Grao terá como misión principal desenvolver a narrativa visual do relato a través do arte concepto das personaxes e escenarios para chegar a unha proposta de storyboard e color scripts. Ademais, realizarase o modelo 3D texturizado dunha das personaxes principais do relato. Para rematar, o produto final consistirá nun libro de arte e un videoreel que recolla o proceso de traballo e mostre o acabado final do proxecto., [Abstract] The “Art of Fae” Project consists of the visual development of ‘Fae, an original short story written by Ophelia Silk (@linkedsoul) on the social media platform named Tumblr. This Final Year Dissertation has as its main mission the development of a visual narrative of the story through character and environment concept art to reach a storyboard proposal and a color script. In addition, a textured 3D model of one of the main characters of the story will be made. Lastly, the end product will consist of an art book and a videoreel that show the work process and the finished look of the project.

Background: Infancy is a complex period of human life, in which environmental experiences have a fundamental role for neurodevelopment. Although conditions of social and sensory deprivation are uncommon in high income countries, the Covid-19 pandemic abruptly modified this condition, by depriving people of their social stimuli of daily life. Aim: To understand the impact of this deprivation on infants' behaviour, we investigated the short-term effects of isolation and use of individual protective systems by mothers during the first two weeks of life. Methods: The study included 11 mother-infant dyads with mothers tested positive to SARS-CoV-2 at the time of delivery (Covid group) and 11 dyads with a SARS-CoV-2 negative mother as controls. Neurobehavioral, visual, and sensory processing assessments were performed from birth to 3 months of age. Results: Findings showed the effect of deprivation on some neurobehavioral abilities of infants in the Covid group; in addition, differences in sensory maturation trends were observed, although they tended to gradually decrease until disappearance at 3 months of age. Conclusion: These findings suggest the significant effects of early sensory and social deprivation during the first two weeks of life, but also provide several insights on the ability of the brain to restore its aptitudes by deleting or reducing the effects of early deprivation before the critical periods' closure.

Early visual areas are retinotopically organized in human and non-human primates. Population receptive field (pRF) size increases with eccentricity and from lower- to higher-level visual areas. Furthermore, the cortical magnification factor (CMF), a measure of how much cortical space is devoted to each degree of visual angle, is typically larger for foveal as opposed to peripheral regions of the visual field. Whether this fine-scale organization within and across visual areas depends on early visual experience has yet been unknown. Here, we employed 7T functional magnetic resonance imaging pRF mapping to assess the retinotopic organization of early visual regions (i.e., V1, V2, and V3) in eight sight recovery individuals with a history of congenital blindness until a maximum of 4 years of age. Compared with sighted controls, foveal pRF sizes in these individuals were larger, and pRF sizes did not show the typical increase with eccentricity and down the visual cortical processing stream (V1-V2-V3). Cortical magnification was overall diminished and decreased less from foveal to parafoveal visual field locations. Furthermore, cortical magnification correlated with visual acuity in sight recovery individuals. The results of this study suggest that early visual experience is essential for refining a presumably innate prototypical retinotopic organization in humans within and across visual areas, which seems to be crucial for acquiring full visual capabilities.

[ES] En este proyecto se presenta el proceso de preproducción del cortometraje de animación 2D Ensueño, basado en el mundo onírico, del inconsciente humano y sus símbolos. La preproducción constará de las diferentes fases que luego formarán la base sobre la que se producirá el cortometraje, incluyendo los guiones narrativo y técnico, el storyboard, desarrollo visual y animática. Además, se ha estudiado de la toda documentación otros material es que hablan y que constituye el marco conceptual del que se nutre este trabajo como es la cuestión del inconsciente, fundamental para poder comprender mejor su lenguaje y aplicarlo a la obra. El objetivo principal de este trabajo de final de grado es hacer una buena preproducción, creando una historia interesante, con un estilo visual atractivo, que pueda llevarse a cabo más adelante con un equipo adecuado; adquiriendo experiencia en todas las fases que componen la preproducción de un corto y generando material para el portfolio y la reel personales., [EN] This project presents the pre-production process of the 2D animated short film Ensueño, based on the dream world, the human unconscious and its symbols. Pre-production will consist of the different phases that will then form the basis on which the short film will be produced, including narrative and technical scripts, storyboard, visual and animatic development. In addition, all documentation has been studied other material is that they speak and that constitutes the conceptual framework that nourishes this work as is the question of the unconscious, fundamental to be able to better understand its language and apply it to the work. The main objective of this final grade work is to make a good pre-production, creating an interesting story, with an attractive visual style, that can be carried out later with a suitable equipment; acquiring experience in all phases that make up the pre-production of a short film and generating material for the personal portfolio and reel.

[ES] En este proyecto se presenta el proceso de preproducción del cortometraje de animación 2D Ensueño, basado en el mundo onírico, del inconsciente humano y sus símbolos. La preproducción constará de las diferentes fases que luego formarán la base sobre la que se producirá el cortometraje, incluyendo los guiones narrativo y técnico, el storyboard, desarrollo visual y animática. Además, se ha estudiado de la toda documentación otros material es que hablan y que constituye el marco conceptual del que se nutre este trabajo como es la cuestión del inconsciente, fundamental para poder comprender mejor su lenguaje y aplicarlo a la obra. El objetivo principal de este trabajo de final de grado es hacer una buena preproducción, creando una historia interesante, con un estilo visual atractivo, que pueda llevarse a cabo más adelante con un equipo adecuado; adquiriendo experiencia en todas las fases que componen la preproducción de un corto y generando material para el portfolio y la reel personales., [EN] This project presents the pre-production process of the 2D animated short film Ensueño, based on the dream world, the human unconscious and its symbols. Pre-production will consist of the different phases that will then form the basis on which the short film will be produced, including narrative and technical scripts, storyboard, visual and animatic development. In addition, all documentation has been studied other material is that they speak and that constitutes the conceptual framework that nourishes this work as is the question of the unconscious, fundamental to be able to better understand its language and apply it to the work. The main objective of this final grade work is to make a good pre-production, creating an interesting story, with an attractive visual style, that can be carried out later with a suitable equipment; acquiring experience in all phases that make up the pre-production of a short film and generating material for the personal portfolio and reel.

[ES] En este proyecto se presenta el proceso de preproducción del cortometraje de animación 2D Ensueño, basado en el mundo onírico, del inconsciente humano y sus símbolos. La preproducción constará de las diferentes fases que luego formarán la base sobre la que se producirá el cortometraje, incluyendo los guiones narrativo y técnico, el storyboard, desarrollo visual y animática. Además, se ha estudiado de la toda documentación otros material es que hablan y que constituye el marco conceptual del que se nutre este trabajo como es la cuestión del inconsciente, fundamental para poder comprender mejor su lenguaje y aplicarlo a la obra. El objetivo principal de este trabajo de final de grado es hacer una buena preproducción, creando una historia interesante, con un estilo visual atractivo, que pueda llevarse a cabo más adelante con un equipo adecuado; adquiriendo experiencia en todas las fases que componen la preproducción de un corto y generando material para el portfolio y la reel personales., [EN] This project presents the pre-production process of the 2D animated short film Ensueño, based on the dream world, the human unconscious and its symbols. Pre-production will consist of the different phases that will then form the basis on which the short film will be produced, including narrative and technical scripts, storyboard, visual and animatic development. In addition, all documentation has been studied other material is that they speak and that constitutes the conceptual framework that nourishes this work as is the question of the unconscious, fundamental to be able to better understand its language and apply it to the work. The main objective of this final grade work is to make a good pre-production, creating an interesting story, with an attractive visual style, that can be carried out later with a suitable equipment; acquiring experience in all phases that make up the pre-production of a short film and generating material for the personal portfolio and reel.

[ES] En este proyecto se presenta el proceso de preproducción del cortometraje de animación 2D Ensueño, basado en el mundo onírico, del inconsciente humano y sus símbolos. La preproducción constará de las diferentes fases que luego formarán la base sobre la que se producirá el cortometraje, incluyendo los guiones narrativo y técnico, el storyboard, desarrollo visual y animática. Además, se ha estudiado de la toda documentación otros material es que hablan y que constituye el marco conceptual del que se nutre este trabajo como es la cuestión del inconsciente, fundamental para poder comprender mejor su lenguaje y aplicarlo a la obra. El objetivo principal de este trabajo de final de grado es hacer una buena preproducción, creando una historia interesante, con un estilo visual atractivo, que pueda llevarse a cabo más adelante con un equipo adecuado; adquiriendo experiencia en todas las fases que componen la preproducción de un corto y generando material para el portfolio y la reel personales., [EN] This project presents the pre-production process of the 2D animated short film Ensueño, based on the dream world, the human unconscious and its symbols. Pre-production will consist of the different phases that will then form the basis on which the short film will be produced, including narrative and technical scripts, storyboard, visual and animatic development. In addition, all documentation has been studied other material is that they speak and that constitutes the conceptual framework that nourishes this work as is the question of the unconscious, fundamental to be able to better understand its language and apply it to the work. The main objective of this final grade work is to make a good pre-production, creating an interesting story, with an attractive visual style, that can be carried out later with a suitable equipment; acquiring experience in all phases that make up the pre-production of a short film and generating material for the personal portfolio and reel.

We examined development of 5- and 10.5-month-old infants' face representations, focusing on infants' discrimination and categorization of female and male faces. We tested for gender-based preferences and categorization of female and male faces by presenting infants with pairs of faces and then habituating them to a series of majority female or male face ensembles. We then tested for gender preferences with new face pairs (one female and one male; Study 1) or new face ensembles (majority female and majority male; Study 2). We found that both 5- and 10.5-month-old infants discriminated female from male faces in face pairs, and both age groups looked more at female faces during habituation. Neither age group, however, provided evidence of gender-based categorization. We interpret these findings within a theoretical framework that stresses environmental exposure to different social categories, and infants' ability to detect commonalities of features within categories. We conclude that infants' gender-based categorization of faces is constrained by the set of features available in the input.

Astrocytes regulate the formation and function of neuronal synapses via multiple signals, however, what controls regional and temporal expression of these signals during development is unknown. We determined the expression profile of astrocyte synapse-regulating genes in the developing mouse visual cortex, identifying astrocyte signals that show differential temporal and layer-enriched expression. These patterns are not intrinsic to astrocytes, but regulated by visually-evoked neuronal activity, as they are absent in mice lacking glutamate release from thalamocortical terminals. Consequently, synapses remain immature. Expression of synapse-regulating genes and synaptic development are also altered when astrocyte signaling is blunted by diminishing calcium release from astrocyte stores. Single nucleus RNA sequencing identified groups of astrocytic genes regulated by neuronal and astrocyte activity, and a cassette of genes that show layer-specific enrichment. Thus, the development of cortical circuits requires coordinated signaling between astrocytes and neurons, highlighting astrocytes as a target to manipulate in neurodevelopmental disorders.

[EN] Here is exposed the conceptual and artistic process of the making of a Visual Development project that revolves around the rol game. Using learned drawing techniques for the initial sketches in the design of the characters and objects, painting for techniques such as watercolor and acrylic; sculpture for knowledge and experimentation of various materials in preproduction; layout and formats for the application of premises for printing and techniques learned in project methodology such as brainstorming or concept maps.animed at creating a personal and creative world that, while being backed up by visual and theoretical references, is cohesive with the literary work., [ES] En esta memoria se expone el proceso conceptual y artístico de la realización de un juego de rol: Aegis. Se han utilizado técnicas aprendidas en dibujo para los esbozos iníciales en el diseño de los personajes y objetos, pintura para técnicas como acuarela y acrílico y escultura para la experimentación de materiales en la preproducción. Se ha hecho especial hincapie¿ en desenvolver un mundo personal, original y creativo.

[EN] Here is exposed the conceptual and artistic process of the making of a Visual Development project that revolves around the rol game. Using learned drawing techniques for the initial sketches in the design of the characters and objects, painting for techniques such as watercolor and acrylic; sculpture for knowledge and experimentation of various materials in preproduction; layout and formats for the application of premises for printing and techniques learned in project methodology such as brainstorming or concept maps.animed at creating a personal and creative world that, while being backed up by visual and theoretical references, is cohesive with the literary work., [ES] En esta memoria se expone el proceso conceptual y artístico de la realización de un juego de rol: Aegis. Se han utilizado técnicas aprendidas en dibujo para los esbozos iníciales en el diseño de los personajes y objetos, pintura para técnicas como acuarela y acrílico y escultura para la experimentación de materiales en la preproducción. Se ha hecho especial hincapie¿ en desenvolver un mundo personal, original y creativo.

[ES] En esta memoria se expone el proceso conceptual y artístico de la realización de un proyecto de Desarrollo Visual centrado en los personajes de la novela Dune de Frank Herbert, haciendo especial hincapié en desenvolver un mundo personal original y creativo que, apoyado en referentes visuales y teóricos, sea coherente con el texto literario., [EN] Here is exposed the conceptual and artistic process of the making of a Visual Development project that revolves around the characters from Frank Herbert¿s novel Dune, aimed at creating a personal and creative world that, while being backed up by visual and theoretical references, is cohesive with the literary work.

[ES] En esta memoria se expone el proceso conceptual y artístico de la realización de un proyecto de Desarrollo Visual centrado en los personajes de la novela Dune de Frank Herbert, haciendo especial hincapié en desenvolver un mundo personal original y creativo que, apoyado en referentes visuales y teóricos, sea coherente con el texto literario., [EN] Here is exposed the conceptual and artistic process of the making of a Visual Development project that revolves around the characters from Frank Herbert¿s novel Dune, aimed at creating a personal and creative world that, while being backed up by visual and theoretical references, is cohesive with the literary work.

Purpose: In the Netherlands, youth health care physicians and nurses screen all children for general health disorders at Child Health Care Centers. As part of this, the eyes are screened seven times, with the first visual acuity (VA) measurement at 36 months with the Amsterdam Picture Chart (APK). The suitability of the APK has been questioned. Methods: Children born between July 2011 and June 2012 born in the provinces Drenthe, Gelderland and Flevoland and invited for screening at 36 months were eligible. Parents were sent the APK picture optotypes to practise with their children in advance. Data were collected from electronic screening records. The Dutch vision screening guideline prescribes that children with VA <5/6, or one line interocular difference (not logMAR, however) should be retested or referred. Results: Of 10 809 eligible children, 1546 did not attend and 602 attended but had no VA measurement at age 36 months, 247 of these were under orthoptic treatment. Of the 8448 children examined, VA was sufficient in 5663 (67.0%) and insufficient in 1312 (15.5%). In 1400 (16.6%), the measurement of VA itself failed. In 73 (0.9%), data were missing. Of the 216 children with 2 failed VA measurements, 150 (69%) were not referred, and measurement of VA was deferred to the next general screening examination at 45 months. Conclusion: Although most parents had practised the APK picture optotypes at home with their children, the rate of failed APK measurements plus the measurements with insufficient VA was 32.1% at 36 months. Similar rates have previously been reported for Lea Symbols and HOTV, permitting the conclusion that measurement of VA at the age of 36 months cannot be recommended as a screening test in the general population.

PURPOSE. To describe the phenotypic spectrum of retinal disease caused by the c.2991+1655A>G mutation in CEP290 and to compare disease severity between homozygous and compound heterozygous patients. METHODS. Medical records were reviewed for best-corrected visual acuity (BCVA), age of onset, fundoscopy descriptions. Foveal outer nuclear layer (ONL) and ellipsoid zone (EZ) presence was assessed using spectral-domain optical coherence tomography (SD-OCT). Differences between compound heterozygous and homozygous patients were analyzed based on visual performance and visual development. RESULTS. A total of 66 patients were included. The majority of patients had either light perception or no light perception. In the remaining group of 14 patients, median BCVA was 20/195 Snellen (0.99 LogMAR; range 0.12–1.90) for the right eye, and 20/148 Snellen (0.87 LogMAR; range 0.22–1.90) for the left. Homozygous patients tended to be more likely to develop light perception compared to more severely affected compound heterozygous patients (P = 0.080) and are more likely to improve from no light perception to light perception (P = 0.022) before the age of 6 years. OCT data were available in 12 patients, 11 of whom had retained foveal ONL and EZ integrity up to 48 years (median 23 years) of age. CONCLUSIONS. Homozygous patients seem less severely affected compared to their compound-heterozygous peers. Improvement of visual function may occur in the early years of life, suggesting a time window for therapeutic intervention up to the approximate age of 17 years. This period may be extended by an intact foveal ONL and EZ on OCT.

Requirements of the new education standards for schools introduced compulsory execution of research projects by students, and the projects must have a practical value, the inter-subject relations and active use of information and communication technologies. Creation and rapid development of mobile applications for different platforms in a Delphi environment ideally suited for inclusion in project learning. Experience with the product based on team competition School of real cases has shown real results in the short term. This school received hands-on experience and practical skills essential for future students of any specialties and answer the question of early professional profiling of students in the school, including in the framework of further education, Требования новых стандартов образования для школ вводят обязательное выполнение научных проектов учащимися, при этом проекты должны иметь прикладное значение, межпредметные связи и активно использовать информационные и коммуникационные технологии. Создание и быстрая прикладная разработка мобильных приложений для разных платформ в среде Delphi XE7 оптимально подходит для включения в проектное обучение. Опыт использования продукта на базе командного конкурса «Школа реальных дел» показал реальные результаты в достаточно сжатый срок. Такой полученный в школе практический опыт и практические навыки важны для будущих студентов любых специальностей и отвечают на вопрос раннего профессионального профилирования учащихся в школе, в том числе и в рамках дополнительного образования

Requirements of the new education standards for schools introduced compulsory execution of research projects by students, and the projects must have a practical value, the inter-subject relations and active use of information and communication technologies. Creation and rapid development of mobile applications for different platforms in a Delphi environment ideally suited for inclusion in project learning. Experience with the product based on team competition School of real cases has shown real results in the short term. This school received hands-on experience and practical skills essential for future students of any specialties and answer the question of early professional profiling of students in the school, including in the framework of further education, Требования новых стандартов образования для школ вводят обязательное выполнение научных проектов учащимися, при этом проекты должны иметь прикладное значение, межпредметные связи и активно использовать информационные и коммуникационные технологии. Создание и быстрая прикладная разработка мобильных приложений для разных платформ в среде Delphi XE7 оптимально подходит для включения в проектное обучение. Опыт использования продукта на базе командного конкурса «Школа реальных дел» показал реальные результаты в достаточно сжатый срок. Такой полученный в школе практический опыт и практические навыки важны для будущих студентов любых специальностей и отвечают на вопрос раннего профессионального профилирования учащихся в школе, в том числе и в рамках дополнительного образования

[EN] Silly Walks Studio is a newly established team formed by four young artists specializing in visual development and 2D animation. This group was created in 2013, after its members finished their studies, thanks to a Startup UPV, a program to support young entrepeneurs, of which these four Graduates in Fine Arts have been the first beneficiaries at Universitat Politècnica de València. Due to their multidisciplinary nature, in Silly Walks’ portfolio can be found the production of Motion Graphics, spots, advertising art for video games, and even contributions to films. To date they have combined the development of their own projects with commissioned work of some importance, as the animation sequence for the film Pixel Theory (2013), or the graphical and audio-visual image to the 5th Edition of the Master Degree in Animation UPV (2013-15). Moreover, in the past year they have worked as visual designers and as animators for the gaming industry, joining forces with Brave Zebra studio. In the following lines we will know firsthand the members of this group and will be reviewed their short but intense career in today’s audiovisual and animation world., [ES] Silly Walks Studio es un equipo de reciente creación formado por cuatro jóvenes artistas especializados en desarrollo visual y animación 2D. Este colectivo se creó en 2013 después de que sus miembros concluyesen sus estudios gracias a una Startup UPV, un programa de apoyo a jóvenes, de la cual estos cuatro egresados en Bellas Artes han sido los primeros beneficiarios en toda la Universitat Politècnica de València. Por su carácter multidisciplinar podemos encontrar en la trayectoria de Silly Walks trabajos de Motion Graphics, espots publicitarios, arte para videojuegos e incluso participaciones en películas. Hasta la fecha han compaginado el desarrollo de proyectos propios con trabajos comerciales de cierta envergadura, como la secuencia de animación para la película Pixel Theory (2013) o la imagen gráfica y audiovisual para la 5ª Edición del Máster en Animación de la UPV (2013-15). Asimismo, en el último año han trabajado como diseñadores visuales y como animadores para el sector de los videojuegos, uniendo fuerzas con el estudio Brave Zebra. En las siguientes líneas podremos conocer de primera mano a este colectivo y hacer un repaso por su corta pero intensa carrera en el mundo audiovisual animado.

[EN] Silly Walks Studio is a newly established team formed by four young artists specializing in visual development and 2D animation. This group was created in 2013, after its members finished their studies, thanks to a Startup UPV, a program to support young entrepeneurs, of which these four Graduates in Fine Arts have been the first beneficiaries at Universitat Politècnica de València. Due to their multidisciplinary nature, in Silly Walks’ portfolio can be found the production of Motion Graphics, spots, advertising art for video games, and even contributions to films. To date they have combined the development of their own projects with commissioned work of some importance, as the animation sequence for the film Pixel Theory (2013), or the graphical and audio-visual image to the 5th Edition of the Master Degree in Animation UPV (2013-15). Moreover, in the past year they have worked as visual designers and as animators for the gaming industry, joining forces with Brave Zebra studio. In the following lines we will know firsthand the members of this group and will be reviewed their short but intense career in today’s audiovisual and animation world., [ES] Silly Walks Studio es un equipo de reciente creación formado por cuatro jóvenes artistas especializados en desarrollo visual y animación 2D. Este colectivo se creó en 2013 después de que sus miembros concluyesen sus estudios gracias a una Startup UPV, un programa de apoyo a jóvenes, de la cual estos cuatro egresados en Bellas Artes han sido los primeros beneficiarios en toda la Universitat Politècnica de València. Por su carácter multidisciplinar podemos encontrar en la trayectoria de Silly Walks trabajos de Motion Graphics, espots publicitarios, arte para videojuegos e incluso participaciones en películas. Hasta la fecha han compaginado el desarrollo de proyectos propios con trabajos comerciales de cierta envergadura, como la secuencia de animación para la película Pixel Theory (2013) o la imagen gráfica y audiovisual para la 5ª Edición del Máster en Animación de la UPV (2013-15). Asimismo, en el último año han trabajado como diseñadores visuales y como animadores para el sector de los videojuegos, uniendo fuerzas con el estudio Brave Zebra. En las siguientes líneas podremos conocer de primera mano a este colectivo y hacer un repaso por su corta pero intensa carrera en el mundo audiovisual animado.

[EN] Silly Walks Studio is a newly established team formed by four young artists specializing in visual development and 2D animation. This group was created in 2013, after its members finished their studies, thanks to a Startup UPV, a program to support young entrepeneurs, of which these four Graduates in Fine Arts have been the first beneficiaries at Universitat Politècnica de València. Due to their multidisciplinary nature, in Silly Walks’ portfolio can be found the production of Motion Graphics, spots, advertising art for video games, and even contributions to films. To date they have combined the development of their own projects with commissioned work of some importance, as the animation sequence for the film Pixel Theory (2013), or the graphical and audio-visual image to the 5th Edition of the Master Degree in Animation UPV (2013-15). Moreover, in the past year they have worked as visual designers and as animators for the gaming industry, joining forces with Brave Zebra studio. In the following lines we will know firsthand the members of this group and will be reviewed their short but intense career in today’s audiovisual and animation world., [ES] Silly Walks Studio es un equipo de reciente creación formado por cuatro jóvenes artistas especializados en desarrollo visual y animación 2D. Este colectivo se creó en 2013 después de que sus miembros concluyesen sus estudios gracias a una Startup UPV, un programa de apoyo a jóvenes, de la cual estos cuatro egresados en Bellas Artes han sido los primeros beneficiarios en toda la Universitat Politècnica de València. Por su carácter multidisciplinar podemos encontrar en la trayectoria de Silly Walks trabajos de Motion Graphics, espots publicitarios, arte para videojuegos e incluso participaciones en películas. Hasta la fecha han compaginado el desarrollo de proyectos propios con trabajos comerciales de cierta envergadura, como la secuencia de animación para la película Pixel Theory (2013) o la imagen gráfica y audiovisual para la 5ª Edición del Máster en Animación de la UPV (2013-15). Asimismo, en el último año han trabajado como diseñadores visuales y como animadores para el sector de los videojuegos, uniendo fuerzas con el estudio Brave Zebra. En las siguientes líneas podremos conocer de primera mano a este colectivo y hacer un repaso por su corta pero intensa carrera en el mundo audiovisual animado.

[EN] Silly Walks Studio is a newly established team formed by four young artists specializing in visual development and 2D animation. This group was created in 2013, after its members finished their studies, thanks to a Startup UPV, a program to support young entrepeneurs, of which these four Graduates in Fine Arts have been the first beneficiaries at Universitat Politècnica de València. Due to their multidisciplinary nature, in Silly Walks’ portfolio can be found the production of Motion Graphics, spots, advertising art for video games, and even contributions to films. To date they have combined the development of their own projects with commissioned work of some importance, as the animation sequence for the film Pixel Theory (2013), or the graphical and audio-visual image to the 5th Edition of the Master Degree in Animation UPV (2013-15). Moreover, in the past year they have worked as visual designers and as animators for the gaming industry, joining forces with Brave Zebra studio. In the following lines we will know firsthand the members of this group and will be reviewed their short but intense career in today’s audiovisual and animation world., [ES] Silly Walks Studio es un equipo de reciente creación formado por cuatro jóvenes artistas especializados en desarrollo visual y animación 2D. Este colectivo se creó en 2013 después de que sus miembros concluyesen sus estudios gracias a una Startup UPV, un programa de apoyo a jóvenes, de la cual estos cuatro egresados en Bellas Artes han sido los primeros beneficiarios en toda la Universitat Politècnica de València. Por su carácter multidisciplinar podemos encontrar en la trayectoria de Silly Walks trabajos de Motion Graphics, espots publicitarios, arte para videojuegos e incluso participaciones en películas. Hasta la fecha han compaginado el desarrollo de proyectos propios con trabajos comerciales de cierta envergadura, como la secuencia de animación para la película Pixel Theory (2013) o la imagen gráfica y audiovisual para la 5ª Edición del Máster en Animación de la UPV (2013-15). Asimismo, en el último año han trabajado como diseñadores visuales y como animadores para el sector de los videojuegos, uniendo fuerzas con el estudio Brave Zebra. En las siguientes líneas podremos conocer de primera mano a este colectivo y hacer un repaso por su corta pero intensa carrera en el mundo audiovisual animado.

This paper explores artistic interpretation of a script to its visual expression and estetic representation and meaning. The purpose is to reflect on the topic, and to enhance our understanding of how an interpretation from written intention to visual representation can form. The aritstic production used in this artistic research is an animated feature film for children 10+ and the character design of its lead female character., Artistic research processes, Konstnärliga forskningsprocesser

In binocular vision, performance may be superior or inferior to monocular performance depending upon the stimuli presented to each eye. In addition, monocular or binocular visual performance may be affected by the presence of features surrounding a target stimulus. The aim of this study was to investigate the impact of interocular stimulus similarities on a foveal acuity task in normally sighted children and adults.Liquid crystal shutter goggles synchronized with the monitor frame rate were used to present a Landolt C and surround bars to one or both eyes, in the following four viewing conditions. • Monocular: the Landolt C surrounded by bars was presented to the tested eye while the non-tested eye was occluded with a black opaque patch.• Binocular: the Landolt C surrounded by bars was presented to both eyes.• Dichoptic: the Landolt C was presented to the tested eye and flanking bars were presented to the non-tested eye.• Half-binocular: the Landolt C was presented to the tested eye and flanking bars were presented to both eyes. Discrimination of the orientation of a Landolt C was measured under each condition in 56 normally sighted children (7 to 14 years of age) and 22 adults (21 to 38 years of age). The effect of the surround bars (crowding) was tested in a subgroup of 9 children, and 10 adults.Across all age groups acuity was significantly better in the binocular condition than in the other three viewing conditions (binocular summation), and was significantly better in the half-binocular than in the dichoptic condition. In children, but not in adults, acuity was significantly better without than with bars.Interocular similarities may explain the enhanced visual acuity in the half-binocular condition in comparison with the dichoptic condition for all age groups tested. The results suggest that interocular interactions underpinning discrimination under these viewing conditions are developed in early childhood. The foveal crowding effect is immature at the beginnin

This paper explores artistic interpretation of a script to its visual expression and estetic representation and meaning. The purpose is to reflect on the topic, and to enhance our understanding of how an interpretation from written intention to visual representation can form. The aritstic production used in this artistic research is an animated feature film for children 10+ and the character design of its lead female character., Artistic research processes, Konstnärliga forskningsprocesser

This paper explores artistic interpretation of a script to its visual expression and estetic representation and meaning. The purpose is to reflect on the topic, and to enhance our understanding of how an interpretation from written intention to visual representation can form. The aritstic production used in this artistic research is an animated feature film for children 10+ and the character design of its lead female character., Artistic research processes, Konstnärliga forskningsprocesser

To coordinate visual perception and motor control in daily life where we are constantly surrounded by motion, we are dependent on normal visuomotor capacity. One essential prerequisite for normal visuomotor capacity is smooth pursuit eye movements (SP). Infants born very preterm (VPT = born <32 gestational weeks) are at high risk of developing disabilities in higher brain functions i.e. perception, cognition, concentration and coordination. In this thesis visuomotor capacity was investigated in a cohort of VPT infants (n = 113) and compared to control groups of full term (FT) infants. Levels of SP were measured at 2 and 4 months’ corrected age (CA). At 8 months’ CA reaching capacity toward a moving object was evaluated as this represents an executive activity guided by vision that develops at an early age. Lower levels of SP were found in the VPT infants compared to FT controls. The VPT boys showed higher levels of SP compared to the VPT girls. In VPT infants without major neonatal morbidities lower levels of SP was found compared to the FT controls. No difference in total capacity of gaze tracking was found, although the VPT infants lagged the object more at 4 months’ CA and used more saccades at 2 months’ CA. With age the VPT infants’ SP levels increased, but with a wider dispersion compared to the FT controls, and the levels of SP at 4 months’ CA corresponded to the levels of the FT infants at 2 months. A number of perinatal risk factors were found to be negatively associated to lower levels of SP, and this effect was more pronounced in VPT infants with multiple risk factors,. When evaluating the capacity to reach a moving object at 8 months’ CA, the VPT infants showed significantly more bimanual reach and more curved reaching paths to catch the object as compared to the FT control group. In conclusion, a delayed visuomotor capacity was found in VPT infants compared to FT control infants at 2, 4 and 8 months’ CA. Some VPT infants with perinatal risk factors

To coordinate visual perception and motor control in daily life where we are constantly surrounded by motion, we are dependent on normal visuomotor capacity. One essential prerequisite for normal visuomotor capacity is smooth pursuit eye movements (SP). Infants born very preterm (VPT = born <32 gestational weeks) are at high risk of developing disabilities in higher brain functions i.e. perception, cognition, concentration and coordination. In this thesis visuomotor capacity was investigated in a cohort of VPT infants (n = 113) and compared to control groups of full term (FT) infants. Levels of SP were measured at 2 and 4 months’ corrected age (CA). At 8 months’ CA reaching capacity toward a moving object was evaluated as this represents an executive activity guided by vision that develops at an early age. Lower levels of SP were found in the VPT infants compared to FT controls. The VPT boys showed higher levels of SP compared to the VPT girls. In VPT infants without major neonatal morbidities lower levels of SP was found compared to the FT controls. No difference in total capacity of gaze tracking was found, although the VPT infants lagged the object more at 4 months’ CA and used more saccades at 2 months’ CA. With age the VPT infants’ SP levels increased, but with a wider dispersion compared to the FT controls, and the levels of SP at 4 months’ CA corresponded to the levels of the FT infants at 2 months. A number of perinatal risk factors were found to be negatively associated to lower levels of SP, and this effect was more pronounced in VPT infants with multiple risk factors,. When evaluating the capacity to reach a moving object at 8 months’ CA, the VPT infants showed significantly more bimanual reach and more curved reaching paths to catch the object as compared to the FT control group. In conclusion, a delayed visuomotor capacity was found in VPT infants compared to FT control infants at 2, 4 and 8 months’ CA. Some VPT infants with perinatal risk factors

To coordinate visual perception and motor control in daily life where we are constantly surrounded by motion, we are dependent on normal visuomotor capacity. One essential prerequisite for normal visuomotor capacity is smooth pursuit eye movements (SP). Infants born very preterm (VPT = born <32 gestational weeks) are at high risk of developing disabilities in higher brain functions i.e. perception, cognition, concentration and coordination. In this thesis visuomotor capacity was investigated in a cohort of VPT infants (n = 113) and compared to control groups of full term (FT) infants. Levels of SP were measured at 2 and 4 months’ corrected age (CA). At 8 months’ CA reaching capacity toward a moving object was evaluated as this represents an executive activity guided by vision that develops at an early age. Lower levels of SP were found in the VPT infants compared to FT controls. The VPT boys showed higher levels of SP compared to the VPT girls. In VPT infants without major neonatal morbidities lower levels of SP was found compared to the FT controls. No difference in total capacity of gaze tracking was found, although the VPT infants lagged the object more at 4 months’ CA and used more saccades at 2 months’ CA. With age the VPT infants’ SP levels increased, but with a wider dispersion compared to the FT controls, and the levels of SP at 4 months’ CA corresponded to the levels of the FT infants at 2 months. A number of perinatal risk factors were found to be negatively associated to lower levels of SP, and this effect was more pronounced in VPT infants with multiple risk factors,. When evaluating the capacity to reach a moving object at 8 months’ CA, the VPT infants showed significantly more bimanual reach and more curved reaching paths to catch the object as compared to the FT control group. In conclusion, a delayed visuomotor capacity was found in VPT infants compared to FT control infants at 2, 4 and 8 months’ CA. Some VPT infants with perinatal risk factors

To coordinate visual perception and motor control in daily life where we are constantly surrounded by motion, we are dependent on normal visuomotor capacity. One essential prerequisite for normal visuomotor capacity is smooth pursuit eye movements (SP). Infants born very preterm (VPT = born <32 gestational weeks) are at high risk of developing disabilities in higher brain functions i.e. perception, cognition, concentration and coordination. In this thesis visuomotor capacity was investigated in a cohort of VPT infants (n = 113) and compared to control groups of full term (FT) infants. Levels of SP were measured at 2 and 4 months’ corrected age (CA). At 8 months’ CA reaching capacity toward a moving object was evaluated as this represents an executive activity guided by vision that develops at an early age. Lower levels of SP were found in the VPT infants compared to FT controls. The VPT boys showed higher levels of SP compared to the VPT girls. In VPT infants without major neonatal morbidities lower levels of SP was found compared to the FT controls. No difference in total capacity of gaze tracking was found, although the VPT infants lagged the object more at 4 months’ CA and used more saccades at 2 months’ CA. With age the VPT infants’ SP levels increased, but with a wider dispersion compared to the FT controls, and the levels of SP at 4 months’ CA corresponded to the levels of the FT infants at 2 months. A number of perinatal risk factors were found to be negatively associated to lower levels of SP, and this effect was more pronounced in VPT infants with multiple risk factors,. When evaluating the capacity to reach a moving object at 8 months’ CA, the VPT infants showed significantly more bimanual reach and more curved reaching paths to catch the object as compared to the FT control group. In conclusion, a delayed visuomotor capacity was found in VPT infants compared to FT control infants at 2, 4 and 8 months’ CA. Some VPT infants with perinatal risk factors

To coordinate visual perception and motor control in daily life where we are constantly surrounded by motion, we are dependent on normal visuomotor capacity. One essential prerequisite for normal visuomotor capacity is smooth pursuit eye movements (SP). Infants born very preterm (VPT = born <32 gestational weeks) are at high risk of developing disabilities in higher brain functions i.e. perception, cognition, concentration and coordination. In this thesis visuomotor capacity was investigated in a cohort of VPT infants (n = 113) and compared to control groups of full term (FT) infants. Levels of SP were measured at 2 and 4 months’ corrected age (CA). At 8 months’ CA reaching capacity toward a moving object was evaluated as this represents an executive activity guided by vision that develops at an early age. Lower levels of SP were found in the VPT infants compared to FT controls. The VPT boys showed higher levels of SP compared to the VPT girls. In VPT infants without major neonatal morbidities lower levels of SP was found compared to the FT controls. No difference in total capacity of gaze tracking was found, although the VPT infants lagged the object more at 4 months’ CA and used more saccades at 2 months’ CA. With age the VPT infants’ SP levels increased, but with a wider dispersion compared to the FT controls, and the levels of SP at 4 months’ CA corresponded to the levels of the FT infants at 2 months. A number of perinatal risk factors were found to be negatively associated to lower levels of SP, and this effect was more pronounced in VPT infants with multiple risk factors,. When evaluating the capacity to reach a moving object at 8 months’ CA, the VPT infants showed significantly more bimanual reach and more curved reaching paths to catch the object as compared to the FT control group. In conclusion, a delayed visuomotor capacity was found in VPT infants compared to FT control infants at 2, 4 and 8 months’ CA. Some VPT infants with perinatal risk factors

The development of the asymmetry between horizontal and vertical eye tracking was investigated longitudinally at 5, 7, and 9 months of age. The target moved either on a 2D circular trajectory or on a vertical or horizontal 1D sinusoidal trajectory. Saccades, smooth pursuit, and head movements were measured. Vertical tracking was found to be inferior to horizontal tracking at all age levels. The results also show that the mechanisms responsible for horizontal and vertical tracking mutually influence one another in the production of 2D visual pursuit. Learning effects were observed within-trials but no transfer between trials was found.

no abstract available

"Asfyxie" is een term die voor allerlei vormen van zuurstofgebrek rond de bevalling gebruikt wordt. In dit proefschrift zal de term "asfyxie" niet gebruikt worden, maar zal er gesproken worden van (perinatale) hypoxie. Hierbij wordt geen onderscheid gemaakt tussen cerebrale hypoxie ten gevolge van hypoxemie (een verlaagd zuurstofgehalte in het bleed) of ten gevolge van ischemie (een verlaagde bloedvoorziening van het cerebrum) beide vormen klinisch zeer moeilijk te onderscheiden zijn en geisoleerde vorm voorkomen. Naar aanleiding van het bovenstaande worden de volgende vragen gesteld: 1. Worden bij kinderen die perinatale hypoxie doorgemaakt hebben meer afwijkingen in visuele functies aangetoond dan bij kinderen die geen perinatale hypoxie doorgemaakt hebben? 2. Zijn er visuele functies die selectief in hun ontwikkeling belemmerd worden door perinatale hypoxie? 3. Is de zwangerschapsduur van invloed op de ontwikkeling van visuele functies.na perinatale hypoxie? 4. Wat is de relatie tussen afwijkingen in visuele functies en afwijkingen op het gebied van de neuromotorische ontwikkeling? 5. Zijn visuele functies met behulp van gedragsmatig onderzoek poliklinisch, d.w.z. met relatief eenvoudige methoden in een relatief korte tijdsduur te onderzoeken?