Search

To the French critics who originally labelled certain films noir it seemed that a class of Hollywood products had gone darker during the war years – as though a dark filter had been placed over the lens. Films were not designed or marketed as noir, and retrospectively noir's status as a genre is still unsettled. Yet there is widespread interest today in experiencing diverse films as noir, and even in using a Noir Filter in Instagram and video games. Pursuing the filter clue, the noir experience can be thought of as subjection to a dark filtering of narrative. Image filtering styles can help to resolve not only the puzzle of noir's quasi-genre status but also an issue of general interest in aesthetic experience. The use of image filters makes a distinctively powerful contribution to the experience of a work or genre, or to the cultural dominance of an aesthetic regime, due to the unobtrusive formative role it plays in the economy of experience.

To the French critics who originally labelled certain films noir it seemed that a class of Hollywood products had gone darker during the war years – as though a dark filter had been placed over the lens. Films were not designed or marketed as noir, and retrospectively noir’s status as a genre is still unsettled. Yet there is widespread interest today in experiencing diverse films as noir, and even in using a Noir Filter in Instagram and video games. Pursuing the filter clue, the noir experience can be thought of as subjection to a dark filtering of narrative. Image filtering styles can help to resolve not only the puzzle of noir’s quasi-genre status but also an issue of general interest in aesthetic experience. The use of image filters makes a distinctively powerful contribution to the experience of a work or genre, or to the cultural dominance of an aesthetic regime, due to the unobtrusive formative role it plays in the economy of experience. [ABSTRACT FROM AUTHOR]

This classroom action research aims to improve mastery of English viewing skills at junior high school level, especially in class 8F MTsN 2 Sidoarjo by including learning activities based on the fun Picture and Picture method so that students' results or grades increase. This was done because in class 8F MTsN 2 Sidoarjo, the results of students' mastery of English viewing skills seemed low. 32 eighth-grade students participated in the study. Another reason why researchers took viewing skills is because viewing is a new skill in the Merdeka Curriculum. This research uses a type of classroom action research that begins with a pre-cycle and is divided into two cycles, each cycle perfecting learning with the fun Picture and Picture method based on insights from the previous cycle. The methodology includes initial tests, learning based on the Picture and Picture method, observation, and assessment. Results showed continuous improvement, with scores increasing with each cycle. Observations prove the characteristic of teaching using this method, namely that students are freer to express their opinions about an object. The implications of this research suggest that teachers use interesting methods because their success is measured better than using conventional methods. This research states that with 2 cycles learning success reaches 97%.

Student engagement in the process of transduction concomitantly affords them with opportunities to develop and express their critical and creative thinking competences. Reconfiguring or remaking knowledge or meaning in modes other than those of the original sources of information requires affective, imaginative and cognitive activity by sign‐makers. In this article, I present examples of elementary students' transduction work and discuss their semiotic meaning‐making with reference to the concepts of critical and creative thinking. During the study featured in this article, Grade 4 students engaged in the process of transduction when participating in activities about elements of visual art and design and conventions of the medium comics, when exploring picturebooks and graphic novels and when composing and explaining their own multimodal texts. The students' transmodal meaning‐making showed how, in the context of the research classrooms, the purposefully designed pedagogy and activities both required and nurtured students' critical and creative thinking, which simultaneously provided the students with opportunities to extend their knowledge and deepen their understandings of the concepts and curriculum content under study. [ABSTRACT FROM AUTHOR]

Copyright of Foreign Literature Studies is the property of Foreign Literature Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

With their collages, Hannah Höch and Max Ernst left their mark on dadaism and surrealism. Archival material, recordings and self-testimonies allow us to reflect on the collage technique of the two artists. Their complex and multi-stage working processes depend on third-party material, inspiration and planning in equal measures. [ABSTRACT FROM AUTHOR]

This paper is concerned with a fundamental problem of phenomenological research, namely the question how phenomena appear. Well-known is Martin Heidegger's talking about truth as "unconcealment," coupling appearing with "concealment" or "saving." Yet besides this important stance the later Heidegger developed a quite different approach regarding the relation between Being and appearing, now centered on what he termed "the inconspicuous" (das Unscheinbare). Recently phenomenology has, based on this idea, inaugurated a new movement termed "phenomenology of the inconspicuous." While referring to the anonymous endeavor of preparing "the other beginning," Heidegger's notion of the inconspicuous also formulates an important critique, with respect to phenomenology. As can be shown, the inconspicuous is at work within appearing itself, thus leaving behind the metaphysical opposition between manifestation and concealment. It rather should be seen as a kind of tension which is indispensable for something to appear at all. This tension makes any phenomenal appearance turn from a simple aspect viewed into an "ad-spect" (An-blick), which requests the genuine "passibility" of our gaze and engages our responsiveness. [ABSTRACT FROM AUTHOR]

Critical exploration of family members' experience of the body of their deceased relative after a death in palliative care have been limited. To address this gap, we drew on semi-structured interviews at 6 months post loss with 58 family members bereaved after a death in palliative care, as part of a larger, longitudinal study conducted between 2016 and 2018. Narrative thematic analysis elucidated themes within and across participants' accounts of their experiences of the body. Social constructionist perspectives underpin recognition of the processes of grieving family members. Within an overarching theme of social meanings of the dead, five themes pertained to individual, relational, and contextual dimensions of interactions with the body, including: a dual sense of the body still holding the person and as just a body; family's experiences of the body both at home and in formal care settings; expectations around the right amount of time to be with and leave the body. Accounts also revealed their sense of knowing or not knowing what to do with the dead and elements of preparation of the body and management of the family and body by professional caregivers, with differences for deaths at home and deaths in formal settings. Findings highlight the importance of facilitating family and individual preferences, and options around care, place, and time with the body. Focus on support from clinical and social work staff, is warranted to enable provision of informed choice and support for families to engage with the body. Challenges related to COVID-19 are discussed.

In this quasi‐experimental study, 165 learners of English for academic purposes at a university in China were randomly assigned to five experimental groups and a control group. Each experimental group encountered 19 target collocations in the same academic lecture in one of the following input modes: (a) reading, (b) listening, (c) reading while listening, (d) viewing, and (e) viewing with captions. The control group did not receive any treatment. The results revealed that reading, viewing, and viewing with captions led to learning at the form recognition level, but no significant differences were found in the learning gains across these modes. Nonverbal elaboration, type of vocabulary, and type of verbal elaboration affected learning, but frequency of occurrence, strength of association, comprehension, and prior knowledge of general vocabulary did not. This study provides further evidence supporting the use of academic lectures for incidental learning of collocations as well as expanding on the multimedia learning theory. [ABSTRACT FROM AUTHOR]

This study examined the effectiveness of bilingual subtitles relative to captions, subtitles, and no subtitles for incidental vocabulary learning. Learners' processing of novel words in the subtitles and its relationship to learning gains were also explored. While their eye movements were recorded, 112 intermediate to advanced Chinese learners of English watched a documentary in one of 4 conditions: bilingual subtitles, captions, L1 subtitles, and no subtitles. Vocabulary pretests and posttests assessed the participants' knowledge of the target vocabulary for form recognition, meaning recall, and meaning recognition. Results suggested an advantage for bilingual subtitles over captions for meaning recognition and over L1 subtitles for meaning recall. Bilingual subtitles were less effective than captions for form recognition. Participants in the bilingual subtitles group spent more time reading the Chinese translations of the target items than the English target words. The amount of attention to the English target words (but not to the translations) predicted learning gains. [ABSTRACT FROM AUTHOR]

Objective: Although the health benefits of playing sports are well-known, the association between watching sports and health is not well understood. We examined the longitudinal association of watching sports with 20 different health and well-being outcomes., Methods: Three-wave cohort data from 6327 adults (4851 workers) in the Meiji Yasuda LifeStyle study were used to draw causal inferences. We assessed the frequency of watching sports games on media or in-person using a self-reported questionnaire in 2018. Outcomes, including health behaviors, physical, mental, and work-related outcomes, were evaluated in 2019. In 2017, sociodemographic factors, prior exposure, and outcome values were evaluated and used as covariates. Three different statistical models (logistic, modified Poisson, or linear regression) were used according to the nature of the outcome variable., Results: Watching sports on media had a favorable dose-response association with a lower risk of becoming physically inactive and skipping breakfast, as well as higher happiness (p for trend < 0.05). Conversely, watching sports on media had an adverse dose-response association with higher body mass index and increased risks of developing hypertension and diabetes (p for trend < 0.05). Watching sports in-person had a dose-response association with lower risks of exhibiting the precontemplation stage of health behavior change, moderate/severe psychological distress, and dyslipidemia (p for trend < 0.05)., Conclusions: Despite the observed detrimental association between watching sports and cardiometabolic health, which should be interpreted cautiously and studied further, the study findings suggest that watching sports could be a new modifiable protective factor for developing healthy lifestyles and improving mental well-being., Competing Interests: Declaration of competing interest The authors declare that they have no known competing financial interests or personal relationships that could have appeared to influence the work reported in this paper., (Copyright © 2024 The Authors. Published by Elsevier Inc. All rights reserved.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Tourism Tribune / Lvyou Xuekan is the property of Tourism Institute of Beijing Union University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The number of people bereaved due to the Covid-19 pandemic is a major health and social care concern. At a time of unprecedented demand on acute and critical care services, restricted family presence to reduce transmission of the disease had a profound impact on the way bereavement support could be provided in the hospital setting. In response, relatively rapid adaptions to practices were required. This paper provides inspiration and guidance on an acute hospital initiative designed to address the emotional needs of the immediately bereaved. The core features of a supported viewing service are presented through the lens of key employees who played a central role in its development and delivery, and with reference to the prevailing literature. Formal evaluation of the service through qualitative inquiry is recommended, complementary to anecdotal evidence of appreciative uptake of the service during the pandemic. [ABSTRACT FROM AUTHOR]

Copyright of Alustath is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An exploration of the technological behaviours of previously convicted child sexual exploitation material (CSEM) offenders provides a foundation for future applied research into deterrence, investigation, and treatment efforts. This study evaluates choices and transitions of individuals previously convicted of CSEM offenses. Based on their inclusion in two sex offender registries, anonymous survey results (n=78) were collected from English-speaking adults within the United States. CSEM offenders chose technologies based on both utility and perceived risk; peer-to-peer and web-browsers were the most common gateway technologies and showed substantial sustained usage; a substantial minority of users never stored CSEM and only viewed it; most respondents used more than one technology to view CSEM; CSEM offenders used more countermeasures than the public but did not use encryption at higher rates; almost all CSEM consumers started viewing adult SEM first; and countermeasures were used primarily to reduce psychological strain (anxiety). [ABSTRACT FROM AUTHOR]

Theatre is one of the most relevant arts, as it is the result of a living relationship between society and it, reflecting its culture between its actors, depending on the specific architectural and theatrical traditions. The theatrical text is a fabric that is interspersed with a number of indicative units and concepts based on homogeneous and integrated semantic networks the presentation is the essence of the theatrical phenomenon. [ABSTRACT FROM AUTHOR]

Copyright of Architectural Journal / Jian Zhu Xue Bao is the property of Architectural Journal Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Human societies use a variety of semiotic modes for meaning construction. The ubiquity of images in today's world, alone or in combination with other modes, makes competence with images or visual literacy a prerequisite of competence in life. Now identified as an essential literacy skill for 21st century learners in the digital age, visual literacy has been introduced into contemporary English curricula in a number of countries around the world. In China, the skill of viewing is added as one important component of language competence in National English Curriculum Standards for High School issued in 2017, thereby making the cultivation of visual literacy vital to secondary EFL education. This paper aims to present and discuss the current situation of visual literacy in secondary EFL education in China. It first provides an analysis of the ways of visual-verbal interplay for meaning construction in textbooks, and finds an uneven distribution of image-text relations in the current EFL textbooks, with a majority of images playing a supportive or illustrative role. Then it explicates the bi-dimensional three-level construct of visual literacy that is specified in the EFL curriculum, with which the subskills of visual literacy assessed in the latest large-scale EFL tests are compared, with a view to finding out the degree of correspondence between the subskills measured in the tests and the subskills expected in the curriculum. The result shows that only one dimension of reading visual texts is assessed, and the other dimension of writing visual texts is not evidenced. Finally suggestions are made for varied visual inputs, an expanded construct of visual literacy, and improvement of the washback effect of tests. [ABSTRACT FROM AUTHOR]

The article describes the results of an empirical study aimed at identifying the latest trends in broadcasting and viewing of feature films on leading Russian television channels in 2018–2019. On the basis of the Mediascope database, films broadcast on 29 leading Russian channels for the period from December 31, 2017 to March 10, 2019 were analyzed. 23548 items describing feature films were broadcast on 26 television channels, on average—14.7 a week, 2.1 a day per channel. A total of 5418 feature films were discovered, which were produced by 78 countries and released from 1921 to 2019. Each film was aired 4.3 times on average. Domestic films (USSR and Russia) and films produced by the USA dominate in the number of broadcasts and views. More often the audience prefers films released in the last decade (2010–2019). The largest audience among the sample groups as a whole was attracted by domestic films shown on holidays on the four Russian channels: “Russia-1”, “Channel One”, “NTV” and “STS”. Differences were found in the size of the male and female TV audiences, which, presumably, can be explained by the psychological mechanisms of self-identification with the characters of films. The age-related typology of adult audience (18+ years old) is revealed, including groups of 18–20 years old, 21–59 years old, and 60+ years old and reflects the specificity of lifestyles due to the behaviour characteristics of the Russian young adults, adults and senior citizens with various social backgrounds. В статье описываются результаты эмпирического исследования, цель которого — выявить новейшие тенденции в трансляциях и просмотрах художественных фильмов на ведущих российских телеканалах в 2018–2019 гг. На основе базы данных компании «Медиаскоп» были проанализированы кинотрансляции на 29 ведущих российских каналах за период с 31 декабря 2017 года по 10 марта 2019 года. Выявлены 23548 эфирных единиц, описывающих художественные фильмы, на 26 телеканалах, в среднем на канал — 14,7 в неделю, 2,1 в сутки. Всего обнаружено 5418 названий художественных фильмов 78-ми стран производителей, выпущенных с 1921 по 2019 годы. Каждый фильм транслировался в среднем 4,3 раза. В кинотрансляциях и в просмотрах доминируют отечественные ленты (СССР и РФ) и фильмы производства США. Аудитория чаще выбирает фильмы, выпущенные в последнее десятилетие (2010–2019). Самую большую аудиторию по выборке в целом собирают отечественные ленты, демонстрируемые в праздничные дни на четырех российских каналах — «России-1», «Первом канале», «НТВ» и «СТС». Обнаружены различия в величине аудитории кинотрансляций между мужчинами и женщинами, которые, предположительно, могут быть объяснены психологическими механизмами идентификации с персонажами фильмов. Выявлена возрастная типология взрослой аудитории кинотрансляций (от 18 лет), которая включает в себя группы 18–20 лет, 21–59 лет, 60 лет и старше и отражает специфику образа жизни, обусловленную особенностями поведения россиян разного социального статуса в старшем юношеском, основном работоспособном и пенсионном возрасте.

Copyright of Turkish Online Journal of Design, Art & Communication is the property of Turkish Online Journal of Design, Art & Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Possessing the mathematical competence to encounter the challenges under globalisation and the ubiquity of digital technology is an important goal of education. Herein, we propose a broad conceptual framework for understanding and developing mathematical competence. The framework comprises four non-overlapping but interlinked cores: learning, knowing, applying, and viewing. Our framework encompasses ontological, epistemological, and pedagogical dimensions based on a multi-dual perspective. The proposed framework serves as a foundation for generating different learning paths to develop mathematical competence. Examples of learning paths are provided to illustrate the correlative and complementary relationships among the cores of mathematical competence. [ABSTRACT FROM AUTHOR]

Copyright of Insāniyāt / Revue Algérienne d'Anthropologie et de Sciences Sociales is the property of Centre de Recherche en Anthropologie Sociale et Culturelle (CRASC) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper is about the basic characteristics of the pre-philosophical experience of theory. The paper shows that the original meaning of theory is inseparable from its religiouspolitical context, and that the later philosophical meaning of theory appears as a transformation of the original meaning of theory as a pilgrimage aimed at observing the festival. Within the religious-political context, the paper shows the original experience of theory in its threefold structure: leaving the known world (polis), traveling and observing the divine, and returning to the known world. The analysis shows that the experience of theory as a specific journey abroad implies a certain attitude of the observer - a certain ethos, and that viewing itself actually means staying within the region of the appearance of the divine that transforms the observer. [ABSTRACT FROM AUTHOR]

It is quite clear that broadcasting television, as we knew it, is over. It was marked by a centralized industrial structure with a few channels, by one-way dissemination of messages to mass audiences and it prevailed until the early 1980s. The second stage is labelled as multichannel television and it is characterized by many thematic channels and the fragmentation of the audience. In the 1990s the digitization of distribution technologies opened the way for some interactive program formats as well. Nevertheless, it was the internet that shaped a third stage of television with online audiovisual services like catch-up tv and subscription video on-demand streaming. I argue that online audiovisual services with a huge content inventory and providing new innovative formats can be conceptualized as an extension of television. [ABSTRACT FROM AUTHOR]

The article examines the narrational and aesthetical relationship between the character and the viewer during the activity of watching a film depicted in cinema. Topics discussed include the role of information in the narrational problem in a film, the factors that affect the aesthetic view of cinema such as appearances, framing and balance, and social conventions as the bases of information fields used in the readings made from aesthetic surfaces.

This critical reflection originated in a visit to the ‘Artists and Academics’ exhibition held at Fargo Creative Village, Coventry, 26 November 2016. My thoughts about the exhibition have served as a springboard to consider ideas of scholarship, art and community more broadly. I use my research on British artists from the early twentieth century, their ideas about the processes of viewing art and the spiritual in art, to discuss examples in the exhibition. I conclude by considering how this collaborative event can bring academic ideas into conversation with artworks. I suggest that the resulting exchanges may enable viewers to think differently about art and scholarship as well as enrich academic practice.

Copyright of Journal of International Social Research is the property of Journal of International Social Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper I deal with the concept of the binge-watching of television series episodes. The word binge means a period of excessive indulgence in an activity. Particularly, in terms of media theory, it becomes synonymous with obsessive, marathon watching of TV shows and movies through streaming television. The central hypothesis is that binge-watching goes beyond what has for previous decades been considered a generally accepted way of watching TV content. In order to better understand this notion, it is also necessary to explain the importance of non-linear television and its distinction in relation to 'traditional' or linear television. I will pay special attention to social networks as an indispensable factor that completes the binge-watching experience. Social networks are also involved in the peripheral specifics of binge-watching that lead to the emergence of new occupations, which are in direct correlation with the desire of viewers to be informed about their favorite TV content. I also performed a case study of the TV show Pretty Little Liars (PLL). This show had strong effect on connecting creators with viewers through social networks. As a relatively new phenomenon, binge-watching has the potential to soon become an interesting subject of research. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Online Journal of Design, Art & Communication is the property of Turkish Online Journal of Design, Art & Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ileti-s-im is the property of Universite Galatasaray, Faculty of Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of this study is to investigate (1) how often Flemish English-as-a-foreign language learners are exposed to English language media outside of the classroom, (2) whether current out-of-class exposure to English language media is related to learners’ vocabulary knowledge, and (3) whether length of instruction (three or six years), gender, and out-of-class exposure to English language media affect Flemish learners’ vocabulary. Data were collected with 79 English-as-a-foreign language learners. They were administered a frequency-based vocabulary test and a questionnaire. The findings of this study show that Flemish English-as-a-foreign language learners are frequently exposed to English language media. The results also indicate a positive relationship between learners’ vocabulary knowledge and exposure to non-subtitled TV programs and movies, the Internet, and written print (books, magazines). Finally, both length of instruction and current out-of-class exposure to English language media had an effect on learners’ vocabulary knowledge, but out-of-class exposure had a larger effect than length of instruction. [ABSTRACT FROM AUTHOR]

Supporting family members to view the body of their relative after a traumatic death is a critical role for social workers in hospital and morgue settings; however, this role has had little attention in the literature. In-depth interviews with 48 bereaved family members explored their experiences of helpful and unhelpful aspects of support when viewing the body of their deceased relative. A central theme of “support as a relational interaction” was identified. Aspects of the connection and communication valued by participants within this relational interaction included: “permissions and possibilities,” “information and preparation,” “presenting with care,” “time and timing,” and “tuning to family.” These results are considered with grief practice and theory, to suggest the need for social workers to actively engage with working in the interface between the deceased body and the grieving family. This includes advocating a private location for time with the body and using interpersonal skills to provide paced and dosed information for preparation to view that is consistent with the capacities and needs of the individual and family. [ABSTRACT FROM PUBLISHER]

Recent research has shown that learners can learn new words while watching TV programs. However, the number of words learned tends to be low. Several studies have demonstrated that first language (L1) subtitles as well as captions (= subtitles in the foreign language) have the potential to increase learning gains compared to when no on-screen text aids are provided. However, the evidence regarding the differential effect of both types of subtitles is still inconclusive. This paper reports on two exploratory studies investigating the effect of L1 subtitles and captions on different aspects of word knowledge among English-as-a-foreign language (EFL) learners in Flanders (Belgium). Data were collected in two different educational settings: intermediate EFL learners from a general school and low-proficiency EFL learners from a vocational school. Although learning gains were generally low, results indicated that captions have the potential to increase form learning. However, learners who were exposed to the audiovisual input with L1 subtitles did not perform better than the captions group in the tests focusing on the meaning of the target items. Additionally, findings also suggested that learners' vocabulary size and an item's frequency of occurrence in the video clip correlated positively with word learning. [ABSTRACT FROM AUTHOR]

Es evidente que hoy en día adquiere una importancia singular la visualización de imágenes y también la forma en que ellas -querámoslo o no- impactan nuestra retina, lo cual supone por parte del espectador unos criterios interpretativos que muchas veces no tiene. El presente estudio da a conocer unas pautas de lectura que, si bien nos han sido facilitadas por el análisis de la tradición, sirven de punto de partida para reflexionar sobre la obra de arte contemporánea, en este caso la pintura, desde dos puntos de vista: la propia representación pictórica y la actitud que respecto de ella tiene el propio artista. Para ello proponemos un acercamiento al concepto percepción visual a través de un recorrido histórico que abarca desde el s. XIX hasta la actualidad, en base a la revisión de textos que nos aproximan a la obra de E. Manet, G. Braque, C. de Chirico, Z. Music, W. de Kooning, D. Hockney y G. Richter. Dicho recorrido refleja cómo una forma de ver ha dado lugar a características que marcan no solamente una manera determinada de hacer, sino también una manera peculiar de actuar por parte del artista, a la vez que provocan en el espectador una actitud distinta, en función de las coordenadas espacio-temporales referidas.Clearly, nowadays, the visualization of images has a special meaning, as well as the way in which, voluntarily, it might or might not produce an impact in our retina. This supposes that the observer has a criteria for interpretation that is usually absent. The aim of this paper is to share reading patterns that, even though have emerged from an analysis of tradition, provide references to think about contemporary art, specially from two points of view: the first, the way we understand pictorial representations, and secondly, the attitude an artist holds towards it. We will approach the visual perception concept through a historical journey from the XIX century to our present. The analysis will review texts about the work of Manet, Braque, de Chirico, Music, de Kooning, Hockney and Richter. Our study portrays how perception has given place to characteristics that do not only belong to a particular way of behavior, but also to a peculiar form of acting by the artist which produce in the observer a different attitude in terms of the space-time references.

Although a number of previous studies have shown that TV viewing can lead to incidental vocabulary learning, most of them focused on single words. Little research has examined the effect of captioned TV viewing on incidental collocation learning compared with other modes of input. In addition, research on the factors that affect incidental collocation from different input modes is still relatively scarce and has produced inconclusive findings. To fill those research gaps, the present study investigates the effects of reading-while-listening and captioned TV viewing on incidental collocation learning and predictors of learning gains. Eighty Vietnamese English as a foreign language (EFL) learners were divided into an experimental group and a control group. The experimental group encountered 24 target collocations in two stories in two modes of input (reading-while-listening and viewing videos with second language captions) in a counterbalanced fashion over four weeks. Learning was assessed at the level of form recall. The findings indicated that both modes of input resulted in equally significant gains of collocational knowledge. In addition, learners’ prior vocabulary knowledge and collocational congruency were significant predictors of learning gains. Learners with larger vocabulary knowledge picked up significantly more collocations in reading-while-listening but fewer collocations in captioned TV viewing than learners with smaller vocabulary knowledge. [ABSTRACT FROM AUTHOR]

This paper presents an educational experience in which we use the Learning Object (LO) "Cargo movements in a Magnetic Field" during the study of concepts related to the Lorentz force in a class of third year of high school in a public school in the state of São Paulo. Throughout this experience, we investigated the possible contributions of the LO for teaching concepts of Electromagnetism, from the development of investigative activities that contemplate the use of such an object. The study was guided by the qualitative paradigm and the analysis of the results showed that the simulations provided by LO allowed the visualization of the studied physical phenomena which, in the case of Electromagnetism, requires greater capacity for abstraction to be understood. The activities also favored the development of certain skills related to the competence of researching and understanding of the physical concepts. In addition, greater interaction among students and between students and the teacher was observed during classes where this research was developed. [ABSTRACT FROM AUTHOR]