It is a matter of fact that Europe is facing more and more crucial challenges regarding health and social care due to the demographic change and the current economic context. The recent COVID-19 pandemic has stressed this situation even further, thus highlighting the need for taking action. Active and Assisted Living technologies come as a viable approach to help facing these challenges, thanks to the high potential they have in enabling remote care and support. Broadly speaking, AAL can be referred (...) to as the use of innovative and advanced Information and Communication Technologies to create supportive, inclusive and empowering applications and environments that enable older, impaired or frail people to live independently and stay active longer in society. AAL capitalizes on the growing pervasiveness and effectiveness of sensing and computing facilities to supply the persons in need with smart assistance, by responding to their necessities of autonomy, independence, comfort, security and safety. The application scenarios addressed by AAL are complex, due to the inherent heterogeneity of the end-user population, their living arrangements, and their physical conditions or impairment. Despite aiming at diverse goals, AAL systems should share some common characteristics. They are designed to provide support in daily life in an invisible, unobtrusive and user-friendly manner. Moreover, they are conceived to be intelligent, to be able to learn and adapt to the requirements and requests of the assisted people, and to synchronise with their specific needs. Nevertheless, to ensure the uptake of AAL in society, potential users must be willing to use AAL applications and to integrate them in their daily environments and lives. In this respect, video- and audio-based AAL applications have several advantages, in terms of unobtrusiveness and information richness. Indeed, cameras and microphones are far less obtrusive with respect to the hindrance other wearable sensors may cause to one’s activities. In addition, a single camera placed in a room can record most of the activities performed in the room, thus replacing many other non-visual sensors. Currently, video-based applications are effective in recognising and monitoring the activities, the movements, and the overall conditions of the assisted individuals as well as to assess their vital parameters. Similarly, audio sensors have the potential to become one of the most important modalities for interaction with AAL systems, as they can have a large range of sensing, do not require physical presence at a particular location and are physically intangible. Moreover, relevant information about individuals’ activities and health status can derive from processing audio signals. Nevertheless, as the other side of the coin, cameras and microphones are often perceived as the most intrusive technologies from the viewpoint of the privacy of the monitored individuals. This is due to the richness of the information these technologies convey and the intimate setting where they may be deployed. Solutions able to ensure privacy preservation by context and by design, as well as to ensure high legal and ethical standards are in high demand. After the review of the current state of play and the discussion in GoodBrother, we may claim that the first solutions in this direction are starting to appear in the literature. A multidisciplinary debate among experts and stakeholders is paving the way towards AAL ensuring ergonomics, usability, acceptance and privacy preservation. The DIANA, PAAL, and VisuAAL projects are examples of this fresh approach. This report provides the reader with a review of the most recent advances in audio- and video-based monitoring technologies for AAL. It has been drafted as a collective effort of WG3 to supply an introduction to AAL, its evolution over time and its main functional and technological underpinnings. In this respect, the report contributes to the field with the outline of a new generation of ethical-aware AAL technologies and a proposal for a novel comprehensive taxonomy of AAL systems and applications. Moreover, the report allows non-technical readers to gather an overview of the main components of an AAL system and how these function and interact with the end-users. The report illustrates the state of the art of the most successful AAL applications and functions based on audio and video data, namely lifelogging and self-monitoring, remote monitoring of vital signs, emotional state recognition, food intake monitoring, activity and behaviour recognition, activity and personal assistance, gesture recognition, fall detection and prevention, mobility assessment and frailty recognition, and cognitive and motor rehabilitation. For these application scenarios, the report illustrates the state of play in terms of scientific advances, available products and research project. The open challenges are also highlighted. The report ends with an overview of the challenges, the hindrances and the opportunities posed by the uptake in real world settings of AAL technologies. In this respect, the report illustrates the current procedural and technological approaches to cope with acceptability, usability and trust in the AAL technology, by surveying strategies and approaches to co-design, to privacy preservation in video and audio data, to transparency and explainability in data processing, and to data transmission and communication. User acceptance and ethical considerations are also debated. Finally, the potentials coming from the silver economy are overviewed. (shrink)

Ambient assisted living technologies are increasingly presented and sold as essential smart additions to daily life and home environments that will radically transform the healthcare and wellness markets of the future. An ethical approach and a thorough understanding of all ethics in surveillance/monitoring architectures are therefore pressing. AAL poses many ethical challenges raising questions that will affect immediate acceptance and long-term usage. Furthermore, ethical issues emerge from social inequalities and their potential exacerbation by AAL, accentuating the existing access gap between (...) high-income countries and low and middle-income countries. Legal aspects mainly refer to the adherence to existing legal frameworks and cover issues related to product safety, data protection, cybersecurity, intellectual property, and access to data by public, private, and government bodies. Successful privacy-friendly AAL applications are needed, as the pressure to bring Internet of Things devices and ones equipped with artificial intelligence quickly to market cannot overlook the fact that the environments in which AAL will operate are mostly private. The social issues focus on the impact of AAL technologies before and after their adoption. Future AAL technologies need to consider all aspects of equality such as gender, race, age and social disadvantages and avoid increasing loneliness and isolation among, e.g. older and frail people. Finally, the current power asymmetries between the target and general populations should not be underestimated nor should the discrepant needs and motivations of the target group and those developing and deploying AAL systems. Whilst AAL technologies provide promising solutions for the health and social care challenges, they are not exempt from ethical, legal and social issues. A set of ELSI guidelines is needed to integrate these factors at the research and development stage. (shrink)

This article explores the nature and theoretical import of a hitherto neglected class of fictions which we term ‘self-involving interactive fictions’. SIIFs are interactive fictions, but they differ from standard examples of interactive fictions by being, in some important sense, about those who consume them. In order to better understand the nature of SIIFs, and the ways in which they differ from other fictions, we focus primarily on the most prominent example of the category: video-game fictions. We argue that (...) appreciating the self-involving nature of video-game fictions is key to understanding various otherwise puzzling phenomena concerning the ways in which consumers respond to them. Video-game fictions are, however, far from being the only extant example of this class; and we suggest that the recent philosophical interest in video games would be better focused on the wider class of self-involving interactive fictions. (shrink)

The paper classifies euthanasia and discusses its typological presence in storytelling video games. It aims to illustrate the importance of experiencing simulated moral challenges in the context of gameworlds as a significantly influential, exponentially growing form of interactive media. In contrast to older works of art and media, such as film and literature, the difference should be emphasized in light of the player’s ability to make choices in video games. Although the influence of gameworld content depends on the (...) player, the experiences and knowledge gained from playing storytelling video games may influence the player’s problem-solving orientation in the landscape of difficult moral dilemmas they may encounter throughout their lives. (shrink)

Many have offered moral objections to video games, with various critics contending that they depict and promote morally dubious attitudes and behaviour. However, few have offered moral arguments in favour of video games. In this chapter, we develop one such positive moral argument. Specifically, we argue that video games offer one of the only morally acceptable methods for acquiring some ethical knowledge. Consequently, we have (defeasible) moral reasons for creating, distributing, and playing certain morally educating video (...) games. (shrink)

Games may seem like a waste of time, where we struggle under artificial rules for arbitrary goals. The author suggests that the rules and goals of games are not arbitrary at all. They are a way of specifying particular modes of agency. This is what make games a distinctive art form. Game designers designate goals and abilities for the player; they shape the agential skeleton which the player will inhabit during the game. Game designers work in the medium of agency. (...) Game-playing, then, illuminates a distinctive human capacity. We can take on ends temporarily for the sake of the experience of pursuing them. Game play shows that our agency is significantly more modular and more fluid than we might have thought. It also demonstrates our capacity to take on an inverted motivational structure. Sometimes we can take on an end for the sake of the activity of pursuing that end. (shrink)

I think we have come to a point in the current state of technology where we, as appreciators, makers, and producers of live performances, must ask ourselves an important question. We must ask ourselves whether, in a world where we can easily access videotapes of performances, there is something important that we obtain through our engagement with live performances that we cannot get in our engagement with even the best quality videos. The performing arts, as artforms which perform with real (...) bodies on a stage, seem to be on the verge of an existential crisis. Given the sheer cost of live productions of artworks, it might seem more and more tempting, from both an audience’s and a performing arts organization’s standpoint, to simply create videos of artworks and make them publicly available through the Internet. However, despite the cost efficiency of recordings, many of those who attend live performances have an intuition that there is something we get from a live performance that we cannot obtain from a mere video of that performance. This paper explores and justifies the claim that we do lose something when we videotape a live performance, and what we lose is a sense of the performers’ presence through becoming kinesthetically distanced from the performers’ inner world and their agency. (shrink)

The development of the use of computers and software in art from the Fifties to the present is explained. As general aspects of the history of computer art an interface model and three dominant modes to use computational processes (generative, modular, hypertextual) are presented. The "History of Computer Art" features examples of early developments in media like cybernetic sculptures, computer graphics and animation (including music videos and demos), video and computer games, reactive installations, virtual reality, evolutionary art and net (...) art. The functions of relevant art works are explained more detailed than usual in such histories. The second edition for the Book on Demand (Lulu Press, 2020) includes an update of chapter II.1.1 (first edition 2014). (shrink)

As is usually the case with what I work on, I read some stuff I liked. I 1 read an article on comics by Greg Hayman and Henry Pratt and some work on 2 videogames,GrantTavinor’sreallyexcellentworkonthattopic. Ifoundthematerial interesting and I thought I had something to say about it. That’s what usually motivates me and that’s what did in these cases. With comics, my interest in the medium played a big role. I was a child collector of Marvel. I got turned on (...) to independent and alternative comics about ten years ago by a good friend who’s a successful comics artist and that played a role in my writing about comics. (shrink)

A large text presents the history of Computer Art. The history of the artistic uses of computers and computing processes is reconstructed from its beginnings in the fifties to its present state. It points out hypertextual, modular and generative modes to use computing processes in Computer Art and features examples of early developments in media like cybernetic sculptures, video tools, computer graphics and animation (including music videos and demos), video and computer games, pervasive games, reactive installations, virtual reality, (...) evolutionary art and net art. The functions of relevant art works are explained more detailed than is usual in such histories. From October 2011 to December 2012 the chapters have been published successively in German (The English translation started in August 2013 and was completed in June 2014). (shrink)

Many contemporary artworks include active matter along with rules for conservation that are designed to either facilitate or prevent that matter’s degradation or decay. I discuss the mechanisms through which actual or potential states of material decay contribute to the work’s expressive import. Nelson Goodman and Catherine Elgin introduce the concepts of literal and metaphorical exemplification, which are critical to expression: a work literally exemplifies a property when it both possesses and highlights that property, and it metaphorically exemplifies a property (...) when the properties it literally exemplifies bring that property powerfully to mind. I argue that the literal exemplification of actual or potential states of decay enhances a work’s expressive power by stimulating our bodily and emotional responses to the physical potential of the work’s active matter. Conservation practices, by affecting the properties the work literally and metaphorically exemplifies, are key to the expressive power of works that employ states of degradation and decay. The argument is illustrated through discussion of works by Zoe Leonard, Marc Quinn, and Kara Walker that literally exemplify actually or potentially decaying materials, as contrasted with works by Ai Weiwei and Sam Taylor-Johnson that represent rather than exemplify decaying materials. (shrink)

Can video games or the playing of such games be morally objectionable? Many attempts to justify our intuitions about the morality of certain games or game activities are either unsuccessful or fall short. This is mainly due to a normative gap between reality and virtuality that classical approaches to moral philosophy cannot bridge. I am investigating to what extent an accurate action analysis can help us to justify our intuitions that, in some cases, something is ethically wrong with (...) class='Hi'>video games. To do so, I am using Frankfurt’s volition theory to show how virtual game actions can be evaluated based on virtue ethics. This virtue ethical assessment is compatible with Ostritsch’s (2017) endorsement view. Especially in light of the gamification of our surroundings, the question of the ethical status of video gaming is becoming more and more urgent. By arguing that a virtue ethical approach can tell us more about the ethical aspects of video gaming, I will also argue that virtue ethics (because of similar problems in these fields) is promising regarding the ethics of simulation, art, and literature. (shrink)

Los intentos de delimitación que se presentan a continuación, con motivo del arte danzario como forma de obra de arte performática o como instancia de lo performático, atienden a algunos cuestionamientos propuestos a la reflexión sobre el arte, por parte de algunas prácticas y fenómenos artísticos de la década de 1960 y que se relacionan con prácticas de la primera mitad del siglo XX. Son fenómenos artísticos que involucran la espacialidad, la corporeidad y el movimiento de quienes convergen con motivo (...) de los eventos artísticos, y que hacen énfasis en la dimensión procesual de las obras, una dimensión que escasamente tiene presencia en los constructos estéticos dominantes como el kantiano y el hegeliano. Ahora bien, sobre el fondo de la obra de arte total del siglo XIX ( en las declaraciones estéticas de Richard Wagner y de Friedrich Nietzsche), más recientemente se hacen visibles y tematizables formas de arte multimediático, happening, performance, body art, instalación, vídeo arte, arte experimental, además de la dominante y tradicional obra de arte visual y plástica o la del lenguaje poético: en efecto, ya podemos señalar la presencia de la problemática de lo performático en la plástica, en gran parte de la obra de Marcel Duchamp, o en las lecturas de poesía dadaísta, o en las mismas obras efímeras de varios artistas y movimientos de la época. (shrink)

This essay argues that, despite the potential for an encounter between Stanley Cavell’s thought and found-footage experimental filmmaking, this has not yet taken place because the early Cavell’s picture of films as autonomous “wholes,” together with his "global-holistic" conception of modernism, prevented him from appreciating the expressive possibilities of filmic fragments. I then argue that these impediments to an encounter with found footage recede in Cavell’s later thought, as he moves away from a concern with modernism and as J. L. (...) Austin’s How to Do Things with Words comes to play a greater role in his film writing. In this late period, Cavell no longer conceives of topics of film criticism as filmic “wholes” but rather, more loosely, along the lines of what Austin called “total speech situations.” I claim that the culmination of this turn lies in Cavell’s writing on the expressive powers of collections. In closing, I demonstrate the possibilities of the late Cavell’s thinking about collections and “passionate utterances” for found-footage filmmaking by discussing Mexican experimental filmmaker Bruno Varela’s Monolito (2019), with particular attention to how Varela uses archival footage to fulfill the exigencies of finding new modes of expression at just the moment when a world is receding from view. (shrink)

In this text we intend to analyze Bill Viola’s video installation Nantes Triptych (1992) as an example of the richness which lies in the liminal spaces between arts. We defend the thesis that the utilization of the traditional pictorial structure of the triptych in this particular work, along with the powerful audiovisual material, renders a kairological event available to the viewer. This temporal experience makes possible an existential experience when in front of this video installation. To discuss this (...) assumption we will use classical art theory texts about the triptychs, as well as, among others, Deleuze’s texts about time image and the triptych structure, Agamben’s concept of kairos, the concept of kairological artwork coined by David Chan and the philosophy of temporality developed by Merleau-Ponty. (shrink)

Academics have increasingly used video and other electronic methods to collect data and capture reflections from participants. But, until recently, it’s been less common to use film as way of disseminating the results of research. That’s beginning to change. Film can be a powerful way to share research findings with a broad audience. This is particularly true when academics are combining) the traditions of ethnography, documentary filmmaking, and storytelling. -/- Film and cinema are increasingly being used in environmental humanities (...) to complement – or challenge – text-based research. The filmmakers in the arts, sciences and humanities see potential in using the moving images within political philosophy, environmental politics, postcolonial studies, human geography, urban ecology, postcolonial studies, design and literature. An example of this is the film One Table Two Elephants. It is a cinematic ethnography created by two Swedish researchers and filmmakers Jacob von Heland and Henrik Ernstson. Based on years of research in Cape Town, it was filmed in 2015 as part of a longer-term research and film-project . The documentary deals with race, nature and knowledge politics in Cape Town as part of the ways of knowing urban ecologies research project. -/- . (shrink)

Essays and documents in support of the works of Gaialight - DOCUMENTS: The Passion of Jeanne d’Art (2007) - Letter to Gaia (2007) - “Art as Such”: This is Not Pop ... (2008) - Writing Toward Darkness (2009) - Scarlett Words: Light America (2009) - The Darklight Elaboration (2010) - The Darklight Elaboration: Zeitgeist or Episteme? (2010) - Cam Girls (2011) - Brooklyn Buzz (2011) - Brooklyn Buzz: The Semi-divine Metropolis (2011) - Reconnaissance: Light War, Mass Surveillance, Video Games (...) (2011) - First Cause (2011) - Met Ladies (2011) - When Cam Girls Met Ladies (2011) / OUTTAKES (2007): 15 Questions About Editioned Art Photography (2007) - A Few Awkward Questions for Francesca Woodman (2007) - October Revolution (2007) . (shrink)

"The concluding chapter, penned by C. E. Emmer, both revisits and greatly expands upon disputations within the contested territory of kitsch as term and tool in cultural turf-war arsenals. Focusing on debates surrounding two visual responses to the terrorist attacks on September 11, 2001, Dennis Madalone's 2003 music video for the patriotic anthem 'America We Stand As One' and Jenny Ryan's 'plushie' sculpture, 'Soft 9/11,' Emmer utilizes these debates to reveal the coexisting and competing attitudes towards ostensibly kitschy objects (...) and the contentiousness of deploying kitsch as a term in these debates. The buzzing activity of the internet provides much of the raw material for his arguments. Through his close reading of both the works themselves and the public response to them, Emmer once more focuses attention on the competing and overlapping attitudes towards kitsch and the way in which it and its semantic cousins remain a viable and valuable resource with which to police the borders that surround the artworld. Ultimately, his contribution further grounds a wider premise operative in this collection--namely, that a simple and rigid dichotomy of kitsch and (high) art does not and indeed cannot capture the elusive and mercurial nature of kitsch." --from the editor's introduction. (shrink)

In this article, I outline various ways in which artifacts are interwoven with autobiographical memory systems and conceptualize what this implies for the self. I first sketch the narrative approach to the self, arguing that who we are as persons is essentially our (unfolding) life story, which, in turn, determines our present beliefs and desires, but also directs our future goals and actions. I then argue that our autobiographical memory is partly anchored in our embodied interactions with an ecology of (...) artifacts in our environment. Lifelogs, photos, videos, journals, diaries, souvenirs, jewelry, books, works of art, and many other meaningful objects trigger and sometimes constitute emotionally-laden autobiographical memories. Autobiographical memory is thus distributed across embodied agents and various environmental structures. To defend this claim, I draw on and integrate distributed cognition theory and empirical research in human-technology interaction. Based on this, I conclude that the self is neither defined by psychological states realized by the brain nor by biological states realized by the organism, but should be seen as a distributed and relational construct. (shrink)

Everyday media consumption leaves no doubt that the perception of moving images from various media is characterized by experience and understanding. Corresponding research in this field has shown that the stimulus patterns flooding in on us are not only processed mentally, but also bodily. Building on this, the following study argues that incoming stimuli are processed not only visually, but multimodally, with all senses, and moreover affectively. The classical binding of a sensory organ to a medium, on whose delimitation the (...) common understanding of multimodality is based, is thus abolished. Can arguments for this assumption be found? Building on the research of cultural anthropologist Ernst Cassirer and his successors, the two American philosophers Susanne K. Langer and John M. Krois, and supported by research from the life sciences in which, in parallel, the arts also play an important role in understanding image formation, as in the work of Heinz Werner and, following on from this, in the more recent research of the child psychologist Daniel N. Stern in collaboration with mirror neuron research by the group of neuroscientists around Giacomo Rizzolatti in Parma, justifications for this will be provided. What the multimodal processing of film images is concretely based on will finally be made clear by means of an exemplary analysis of a video film by the Swiss artist Pipilotti Rist. It aims to prove, that the prerequisites for the thesis can only lie in the fact, that both the modes of perception (visual, tactile, auditory, olfactory, gustatory) as well as the medially conditioned modes of image formation are based on non-discursive, formal-abstract structures that are also processed affectively. At the same time, the analysis thus shows how the selection and composition of the vital experienced forms can provide information about the socio-culturally shaped self-image of the producer and the viewer. (shrink)

The album Echo was produced in a depressed, drug-riddled phase when Tom Petty’s first marriage was ending and his physical condition so degraded that he took to using a cane. Petty filmed no videos, avoided playing the album’s songs on the follow-up tour and reported little memory of its making. The thoughtfulness and self-reflection that traumatic circumstances spur distinguish the album. So too does the tendency to look backwards in times of crisis, whether in hopes of finding solidity in the (...) past or just out of exhausted inability to cope with the present. -/- While melancholically creative, the album might be regarded as an echoing of past musical fragments. The sprightly mix of acoustic and electric guitars, the backing vocal harmonies and the stories of loss in songs such as “Won’t Last Long” and “This One’s for Me” harken to Petty’s albums from the late 80s to mid-90s. “Accused of Love” similarly contains echoes of Petty’s more upbeat work, but with depressing lyrical undertones. The production qualities and lyrics of “Rhino Skin” recollect “Asshole,” a Beck cover from Petty’s previous album. “I Don’t Wanna Fight”—a Heartbreakers performance composed and sung by Mike Campbell—returns to the hard driving rock of Damn the Torpedoes. The lyrics, straight-laced drums and layered drones of electric guitars of “Free Girl Now” go back further to “American Girl,” which itself was influenced by psychedelic music. At the same time, all of this typifies Petty’s oeuvre. Throughout his career, he made music steeped in past rock traditions. He was also a seminal figure in Southern rock, with its emphatically nostalgic character. -/- The crisis that Petty was experiencing echoes throughout the album in more specific ways, with many songs repeating the theme of being up or down, high or low. The theme of fighting or not wanting to has an especially strong echo, showing up in “Swingin’,” “Billy the Kid” and “I Don’t Wanna Fight.” These songs, in turn, exhibit nostalgia for past icons, with protagonists going down hard like Billy the Kid; or going down swinging like Sonny Liston; or again like Benny Goodman, Glenn Miller and Sammy Davis in a punny reference to the swing era. -/- The retrospective feel of the album is one of looking to the past for the sake of self-preservation in the present, along lines discussed by Nietzsche. While symptomatic of illness, Nietzsche maintains this movement “springs from the protective instinct of a degenerating life which tries by all means to sustain itself and to fight for existence.” This seeming denial of growth can, as Nietzsche continues, be “among the greatest conserving and yes-creating forces of life.” Petty clearly associated Echo with personal grief, refusing to listen to it for years. As with many other examples of art, however, the album was also a way of surviving and growing beyond a present trauma, and one more specifically that compelled him to overcome an important part of his past, namely, his wife of 20-plus years. One can speculate that clinging to fragments of the past—musical and otherwise—was a way of coping with a difficult present and a fading past. (shrink)

Growth in popularity of computer games is a noticeable change in recent years. Electronic entertainment increasingly engages the wider society and reaches to new audiences by offering them satisfy of wide variety of needs and aspirations. As a mass media games not only provide entertainment, but they are also an important source of income, knowledge and social problems. Article aims to bring closer look on the common areas of games and comics. On the one hand designers and artists working on (...) games are often inspired by comic books, as well as they create their licensed adaptations and separate „interactive issues”. On the other hand more and more often we can see comics based on popular games. Study present the areas of agreement, cooperation or dependence like: technologies used to create games and comic books, use of comic books to comment events in the gaming industry and organization of exhibitions or events popularizing the works from both fields. ** W ostatnich latach dostrzegalny jest wzrost popularności gier komputerowych. Elektroniczna rozrywka angażuje uwagȩ coraz to szerszych krȩgów społecznych i dociera do nowych grup odbiorców oferuj¸a}c im zaspokojenie najrozmaitszych potrzeb i aspiracji. Jako środek masowego przekazu gry dostarczaj¸a} nie tylko rozrywki, ale stanowi¸a} też istotne źródło dochodów, wiedzy i problemów społecznych. Celem artykułu jest przybliżenie wspólnych obszarów gier i komiksu. Z jednej strony projektanci i artyści pracuj¸a}cy nad grami czȩsto czerpi¸a} inspiracjȩ z komiksów, jak również tworz¸a} ich licencjonowane adaptacje i odrȩbne, „interaktywne numery”. Z drugiej zaś coraz czȩściej publikowane s¸a} komiksy bazuj¸a}ce na popularnych grach. Opracowanie przedstawia również takie obszary porozumienia, współpracy, b¸adź zależności jak: technologie wykorzystywane przy tworzeniu gier i komiksów, zastosowanie komiksów w komentowaniu wydarzeń branży gier oraz organizowanie wystaw i imprez popularyzuj¸acych twórczość z obu dziedzin. (shrink)

"C.E. Emmer’s article addresses the ongoing debates over how to classify and understand kitsch, from the inception of postmodern culture onwards. It is suggested that the lack of clear distinction between fine art and popular culture generates 'approaches to kitsch – what we might call 'deflationary' approaches – that conspire to create the impression that, ultimately, either 'kitsch' should be abandoned as a concept altogether, or we should simply abandon ourselves to enjoying kitschy objects as kitsch.' The author offers critical (...) insight into 'kitschy' items made in response to 9/11 and tries to examine the reception of these products through scrutinizing a selection of remarks posted by the Internet commentators." Editor Justyna Stępień's summary from her introduction to Redefining Kitsch and Camp in Literature and Culture (Newcastle upon Tyne: Cambridge Scholars Publishing, 2014), p. 2. The final pages of the chapter analyze the seemingly sweet landscape paintings of Thomas Kinkade to show the spirit of revenge their Christian coding can conceal. (shrink)

Colour information not only helps sustain the survival of animal species by guiding sexual selection and foraging behaviour but also is an important factor in the cultural and technological development of our own species. This is illustrated by examples from the visual arts and from state-of-the-art imaging technology, where the strategic use of colour has become a powerful tool for guiding the planning and execution of interventional procedures. The functional role of colour information in terms of its potential benefits to (...) behavioural success across the species is addressed in the introduction here to clarify why colour perception may have evolved to generate behavioural success. It is argued that evolutionary and environmental pressures influence not only colour trait production in the different species but also their ability to process and exploit colour information for goal-specific purposes. We then leap straight to the human primate with insight from current research on the facilitating role of colour cues on performance training with precision technology for image-guided surgical planning and intervention. It is shown that local colour cues in two-dimensional images generated by a surgical fisheye camera help individuals become more precise rapidly across a limited number of trial sets in simulator training for specific manual gestures with a tool. This facilitating effect of a local colour cue on performance evolution in a video-controlled simulator (pick-and-place) task can be explained in terms of colour-based figure-ground segregation facilitating attention to local image parts when more than two layers of subjective surface depth are present, as in all natural and surgical images. (shrink)

I am a multifaceted person, as I am sure you are as well. I love philosophy, obviously, but also computer science, programming and video games. I care about robotics, nature, my family and more. However, why is it that I particularly care about writing philosophy when it will most likely not convince anyone? Why care when my writing will most likely fall into obscurity, only to be forgotten in a deluge of other papers, essays, and works that will themselves (...) fall into obscurity, only to also be forgotten? I propose that philosophy is intrinsically important because they are artistic expressions, and artistic expressions are intrinsically valuable explorations into the self. Therefore, philosophy is an intrinsically valuable exploration into the self. (shrink)

REPRODUÇÃO ANIMAL: INSEMINAÇÃO ARTIFICIAL -/- ANIMAL BREEDING: ARTIFICIAL INSEMINATION -/- Emanuel Isaque Cordeiro da Silva Departamento de Zootecnia da UFRPE E-mail: [email protected] WhatsApp: (82)98143-8399 -/- 1. INTRODUÇÃO A inseminação artificial impôs-se em todo o mundo como um método de grande interesse do ponto de vista zootécnico e econômico, incrementando os rendimentos produtivos através da melhoria acelerada e da uniformidade no reagrupamento das populações. Os resultados positivos obtidos nestas últimas décadas testemunham esta possibilidade, válida tanto para os países mais desenvolvidos como (...) para os países em processo de desenvolvimento. A necessidade de uma rápida melhoria da estrutura das raças, o aumento da produção, bem como o máximo emprego de reprodutores selecionados difundiram consideravelmente o método da inseminação artificial, principalmente na espécie bovina, de forma que hoje se insemina artificialmente mais de 150 milhões de vacas e novilhas aptas para reprodução. Em certos países desenvolvidos, do ponto de vista pecuário, mais de 90% das vacas são inseminadas artificialmente, concretamente na Dinamarca 98%, mais de 95% no Japão e Israel ou 94% na Hungria; na Espanha chega-se a níveis muito próximos dos 50%. 2. CONCEITO E PRINCÍPIOS BÁSICOS O Larousse agrícola (1981) define a inseminação artificial como uma «técnica que consiste em depositar, no aparelho genital de uma fêmea, com a ajuda de instrumentos adequados, o sêmen de um macho colhido artificialmente». O sêmen, colhido por um processo variável e adequadamente diluído, serve para a inseminação artificial de um elevado número de fêmeas, o que permite multiplicar a capacidade reprodutiva dos machos e, portanto, constitui um poderoso meio de melhoria do gado. 3. BREVE HISTÓRIA DA INSEMINAÇÃO ARTIFICIAL Embora a zootecnia iniciasse seu verdadeiro desenvolvimento como ciência e ainda estivesse longe de abordar aspectos econômicos, Lazzaro Spallanzani no século XVIII já intuíra a extensão aplicativa da inseminação artificial realizando testes demonstrativos iniciais. Ilya Ivanov começou um século depois a aplicação prática da IA e compreendeu seu significado tecnológico. Nos primeiros anos do século XX, cientistas e técnicos tentaram desenvolver um método com profundidade; no entanto, os resultados obtidos foram escassos. As razões pelos escassos resultados podem se explicar mediante os deficientes conhecimentos da anatomia, fisiologia e patologia da reprodução e o comportamento nos dois sexos estudados, tanto do ponto de vista biológico como técnico, bem como haver trabalhado sobre espécies pouco fáceis tais como o cavalo e o cão. O conhecimento tecnológico e a aplicação sistemática da técnica tornou-se possível, em primeiro lugar, com a ideia que levou à realização da primeira vagina artificial, obra de Amantea em 1914, em seguida com a criação de eficientes mênstruos diluentes e mais recentemente com o progresso da técnica de conservação prolongada "in vitro" do material espermático por congelação. A partir dos anos trinta, em certos países como a Itália ou a Alemanha, a IA foi utilizada como meio de profilaxia das doenças genitais (brucelose, tricomoníase, vibriose, etc.). A aplicação organizada do método foi realizada pela primeira vez na Dinamarca nos anos 1938-1939, com a criação de cooperativas de inseminação com o objetivo de realizar a melhoria zootécnica bovina, alargando-se posteriormente aos outros países da Europa até à sua aplicação sistemática na atualidade. -/- 4. A PRODUÇÃO DO SÊMEN A expansão da IA na maioria das espécies de interesse zootécnico implica uma forte responsabilidade dos que se ocupam dela, tanto na fase de aplicação como na de seu desenvolvimento. No que se refere aos bovinos do Brasil, foi seguida uma ordenação coordenada das práticas de reprodução com os programas de seleção e expansão das diferentes raças. Para o efeito, foi criada uma legislação que permite dispor de normas mais completas possíveis. 4.1 Atividades a desenvolver em um centro de IA O real decreto que regula as atividades dos centros de IA (Decreto nº 91.111, de 12 de Março de 1985), que regulamenta a Lei n° 6.446, de 05 de outubro de 1977, que dispõe sobre a inspeção e fiscalização obrigatórias do sêmen destinado à inseminação artificial em animais domésticos, e dá outras providências, define como centro de IA, em seu Art. 20 Inciso 1, todo o estabelecimento que mantenha alojados reprodutores doadores de sêmen e que realize as tarefas de coleta, manipulação, Industrialização, armazenagem, comércio ou aplicação de sêmen, com as seguintes dependências: a - quarentenário; b - alojamento dos reprodutores; c - setor de coleta de sêmen; d - sala de material de coleta; e - sala de limpeza, desinfecção e esterilização de todos os materiais e instrumentos de coleta e processamento de sêmen; f - laboratório destinado ao exame, avaliação, diluição, envasamento e congelação de sêmen; g - banco de conservação de sêmen; h - setor administrativo e de expedição; i - outras dependências, se necessário. A atividade destes centros baseia-se na coleta do sêmen de reprodutores de qualidade, na sua armazenagem e subsequente distribuição; para tanto, é necessário realizar toda uma série de procedimentos para a apreciação da qualidade do sêmen e da sua aptidão para o armazenamento. A determinação da capacidade fecundante do sêmen, das suas qualidades e garantias sanitárias deve ser efetuada por técnicos especializados. 4.2 Valores genéticos do reprodutor Os centros de inseminação artificial dispõem dos melhores reprodutores de qualidade em termos de valores genéticos. De acordo com as disposições em vigor, os reprodutores devem ser submetidos a testes de descendência dos progenitores, de aptidão leiteira e estes mesmos testes ou, pelo menos, os testes de rendimento de carcaça próprio nas raças autóctones de produção de carne. Os centros devem dispor de catálogos ou listas contendo dados pormenorizados sobre a origem, qualidades reprodutivas e genéticas do reprodutor, o que permite ao criador conhecer com precisão qual é o touro (no caso dos bovinos) que lhe fornece o esperma e que melhorias pode esperar na qualidade da sua descendência. Por estas razões, os peritos dos centros devem ser responsáveis e assegurar que: a) Os reprodutores não transmitam genes letais ou semiletais ou qualquer outra anomalia geneticamente condicionada em relação à descendência. b) Os reprodutores transmitam realmente as qualidades genéticas declaradas e assegurem, em condições de manejo e alimentação dadas, uma importante produtividade da descendência. c) O preço da dose do sêmen reflita efetivamente o valor genético do reprodutor. d) O sêmen seja corretamente identificado, ou seja, pertença ao reprodutor indicado. 5. AS TÉCNICAS DE INSEMINAÇÃO ARTIFICIAL 5.1 A coleta do sêmen A coleta do sêmen constitui a primeira operação a efetuar-se na técnica da IA. Nos mamíferos domésticos existem duas formas: a) Por recolha sobre a fêmea (pós-coito). b) Por recolha sobre o macho. Para desenvolvê-las foram preconizados diversos métodos: alguns como as esponjas vaginais ou aparelhos de borracha colocados nas vias genitais da fêmea não têm mais que um interesse histórico; outros, como a criação de fístulas ou punção direta no testículo, só são úteis como métodos experimentais, inclusive existem outros métodos, porém de uso pouco frequente (eletroejaculação, amaciamento das vesículas seminais, etc.). Hoje em dia tanto para o touro, carneiro, porco, cavalo e coelho o método usual é a obtenção de sêmen a partir do macho, concretamente mediante a aplicação da técnica da vagina artificial. Nas aves a emissão do esperma obtém-se mediante a massagem manual na região abdominal dos galos reprodutores. Nas abelhas, é necessário provocar a evaginação do pênis do zangão utilizando clorofórmio para depois ser efetuada a coleta do sêmen com o auxílio de uma micropipeta. 5.1.1 O método da vagina artificial Baseia-se na utilização de um aparelho prático e simples que tenta satisfazer as condições que imitem o máximo possível o aparelho genital feminino das fêmeas no momento do coito e que permite verificar uma rápida coleta de um ejaculação livre de contaminação. -/- É essencialmente constituído por um cilindro exterior de borracha endurecida e suficientemente compacto para ser utilizado como isolante térmico. Este cilindro apresenta uma abertura com parafuso de fecho; no interior do cilindro grosseiro introduz-se outro de borracha fina e flexível (camisa) revertido em suas extremidades para mantê-lo fixo mediante umas fitas de borracha. Limitada por ambos os cilindros fica uma cavidade que só se comunica com o exterior pelo orifício praticado na parede do cilindro externo. Uma das extremidades da vagina permanece aberta e a outra ajusta-se a um tubo coletor graduado de vidro no qual se recolhe o esperma. Para simular as condições naturais, introduz-se água quente (41-42ºC em bovinos) dentro da câmara em quantidade suficiente para criar uma pressão e temperatura semelhantes à da vagina da fêmea. 6. AVALIAÇÃO E TRATAMENTO DO SÊMEN: OPERAÇÕES E TÉCNICAS No laboratório podem ser avaliadas e medidas uma série de características e propriedades do sêmen através de um controle da sua qualidade. Estes exames são conclusivos ao permitir a diluição do sêmen e a sua posterior utilização ou, se for o caso, a sua eliminação. 6.1 Estudo macroscópico do esperma 6.1.1 O volume do sêmen ejaculado O volume do esperma é muito variável segundo as espécies (Tabela 1). Mesmo dentro da mesma espécie há variações, como, por exemplo, no caso dos bovinos. Circunstâncias tais como a idade, raça, momento da coleta, método no regime sexual da mesma, época do ano, regime alimentar e grau de excitação sexual em que se encontra, provocam grandes variações no total de quantidade ejaculada por animal. Tabela 1: Características médias do sêmen dos mamíferos domésticos Espécie Volume de uma ejaculação (ml) Concentração 1099/ml N° total de spz (109) Porcentagem de spz móveis Touro 5 (1 – 12) 1,2 (0,5 – 2,5) 6 65 Carneiro 0,9 (0,1 – 0,5) 4 (1,5 – 6) 3,6 90 Porco 300 0,3 90 70 Cavalo 100 0,15 15 65 Cão 2 0,1 0,2 85 Fonte: SOLTNER, 1993. A técnica para a sua medição é imediata, é realizada após a coleta mediante a utilização de um tubo graduado. O volume total de esperma é um fator secundário de apreciação. No entanto, o interesse do seu estudo reside no fato de que o volume normal ser um índice favorável que condiciona o número de doses seminais a preparar. Além disso, outras características macroscópicas importantes do esperma são a cor e o odor característicos em cada uma delas. 6.2 Estudo microscópico do esperma 6.2.1 A motilidade massal Imediatamente após a emissão, o exame microscópico direto do esperma fresco nos permite conhecer de forma aproximada a porcentagem de espermatozoides móveis, sua morfologia, tendência dos zoospermios à aglutinação (movimento de ondas e remoinhos, já que as células vivas varrem as mortas, agrupando-as) e a presença eventual de elementos estranhos (células epiteliais, pus, partículas de terra, restos de vaselina, etc.). O método é subjetivo e serve unicamente como avaliação de conjunto; no entanto, é importante a motilidade dos espermatozoides no fluido espermático. Uma boa ejaculação não deverá conter menos de 60% de espermatozoides em movimento, e este deve ser em avanço progressivo, nunca curvo, rotatório ou oscilante. A atividade massal é avaliada tecnicamente mediante microscópio, com ligeiro aumento (20 x 40), colocando uma gota de esperma sobre uma lâmina situada numa placa de aquecimento (38-39ºC). A observação pode ser direta sobre a ocular ou pode ser facilitada por um sistema que permita a visualização num monitor de televisão. 6.2.2 A concentração zoospérmica É o número de espermatozoides por mililitro de esperma variável para as diferentes espécies (tabela 1). A determinação pode ser feita utilizando sistemas semelhantes à contagem globular utilizada em hematologia, utilizando câmaras contabilísticas especiais como a câmara Burker. Esta câmara possui uma grelha integrada por três tipos de retângulos de diferentes áreas, o que permite operar com qualquer concentração. Antes de iniciar o processo é necessário diluir o esperma para uma melhor observação colocando uma quantidade conhecida sobre a câmara sobrepondo uma lamela. A contagem consiste em anotar o número de espermatozoides cujas cabeças se encontram dentro da grade, de modo que cada dois espermatozoides que eventualmente possam apresentar sua cabeça sobreposta sobre a linha divisória se conta um. O número de quadrados sobre os quais se deve fazer a contagem é de 30, obtendo depois a média aritmética do valor que resultava do número total de espermatozoides encontrados nas 30 quadras. Um exemplo prático para conhecer a concentração de espermatozoides no gado bovino pode ser deduzida utilizando a seguinte fórmula: N = M x 400 x 10 x 200 x 1.000 Onde: N: Número de espermatozoides/mm3. M: Média dos espermatozoides contados por grade. 400: Área da grelha (1/20 x 1/20 = 1/400 mm2). 10: Altura delimitada entre a câmara e a lamela (1/19 mm). 200: Título de diluição (1/200). 1000: Conversão de mm3 para cm3. Pode-se também apreciá-lo de forma rápida e precisa usando um fotômetro, avaliando uma pequena quantidade de esperma diluído. O método é baseado na relação direta que existe entre a transparência ou densidade ante a passagem da luz através do fluido espermático e sua concentração em espermatozoides. Uma fotocélula mede a luz que atravessa a preparação, o que permite deduzir diretamente a concentração. O sistema de videomicrografia consiste em um microscópio óptico focado na amostra de sêmen (foco que é feito manualmente por meio de parafuso micrométrico), uma câmera de vídeo recolhe imagens microscópicas e estas são processadas por computador. Sua vantagem é que o sistema, totalmente automatizado, pode ser ajustado para analisar a concentração no sêmen fresco e após a descongelação do mesmo. 6.2.3 A porcentagem de espermatozoides mortos e anormais Uma das provas de aptidão genésica dos reprodutores é a determinação de formas anormais de espermatozoides. Todos os animais em que o teor de tais formas ultrapasse repetidamente um determinado limite ou que sejam de um tipo característico devem ser eliminados. As colorações específicas permitem diferenciar as formas vivas das mortas em função da aceitação dos diferentes corantes utilizados. Uma das técnicas de coloração seletiva consiste em diluir uma gota de esperma num corante vital (eosina) juntamente com nigrosina. Uma vez aplicado o corante, deixa-se secar o esfregaço ao ar de modo que a eosina cora imediatamente os zoospermios mortos no momento da mistura, enquanto a nigrosina resulta na solução de contraste. A medição pode ser feita em um hematímetro ou por colorímetro. A porcentagem de formas anormais é dada pela seguinte fórmula: x=( A x 100 )/N Onde: A: Número de espermatozoides anormais encontrados. N: Número total de espermatozoides contados. Quando o teor de espermatozoides anormais ultrapassa um certo limite ou se as malformações são de um tipo característico, considera-se a ejaculação como não válida. 6.3 Os controles biológicos e bioquímicos Os controles biológicos ao esperma e espermatozoides limitam-se a testes de resistência ou grau de vigor e a testes de sobrevivência. Os controles químicos incluem, em geral, a determinação da atividade metabólica dos espermatozoides em relação a determinados produtos: frutólise, redução do azul de metileno, consumo de oxigênio, ou a utilização de testes indicadores como GOT, DNA e acrosina. 6.4 A diluição do esperma Esse processo tem por finalidade aumentar o volume total da massa espermática. Os objetivos buscados nesse processo de diluição são: a) Partindo de uma ejaculação, o poder de inseminar o maior número possível de fêmeas. b) A criação de um meio favorável à sobrevivência dos espermatozoides "in vitro". Como diluidores são utilizados diluentes e conservantes, a maioria deles são feitos a partir de gemas de ovo, frutose, leite desnatado reconstituído ou produtos químicos como o TRIS (hidroximetilaminometano) com a adição de antibióticos e glicerol. Em qualquer caso, devem satisfazer as seguintes condições: a) Que tenha um pH idôneo para cada tipo de sêmen, com bom efeito de mistura. b) Que tenham a mesma pressão osmótica e a propriedade de mantê-la. c) Que contenham substâncias alimentares necessárias para o metabolismo dos espermatozoides. d) Que contenham os minerais necessários e na concentração adequada sem ânions nem cátions tóxicos. e) Não devem conter elementos prejudiciais para os órgãos sexuais femininos, para o processo de fecundação e o desenvolvimento do óvulo fecundado. A frutose é a principal fonte de energia para o espermatozoide; este como qualquer outra célula é capaz de metabolizar os hidratos de carbono mediante um mecanismo oxidativo anaeróbio. As proteínas do ovo regulam as variações bruscas de temperatura e certos agentes químicos e efeito conservador sobre os zoospermios, o que permite uma melhor sobrevivência dos mesmos. Os lipídeos do ovo comportam-se como fatores de proteção e os complexos lipoproteicos protegem, mas também conservam o esperma. O leite desnatado apresenta a desvantagem de uma observação mais difícil dos espermatozoides ao fazer a constatação das doses seminais. Os antibióticos têm a função de inibir o desenvolvimento dos germes que acompanham o esperma no momento da coleta. A ação mais eficaz é a penicilina e a estreptomicina. À medida que certos agentes patogênicos (vibriofetus) e outras infecções específicas são erradicados, a tendência é a diminuição na utilização de antibióticos, porque, juntamente com a sua ação positiva, implica também uma diminuição da fertilidade do sêmen. O glicerol intervém no processo de conservação e favorece a formação de cristais muito pequenos durante a congelação, o que evita o dano celular e favorece a sobrevivência dos espermatozoides. 6.4.1 A taxa de diluição É um processo importante, uma vez que é necessário assegurar os resultados da fecundação. Realizado o número de espermatozoides de cada um dos ejaculados, uma vez que têm densidade diferente, procede-se ao cálculo do volume do dilúvio-conservador necessário. O número de doses obtidas por ejaculação é muito variável. De 100 a 300 ou mais para ejaculação de touro, de 10 a 15 para o de carneiro ou de bode e de 30 a 40 para o porco. Após a diluição do esperma com o mênstruo, é requerido um período de equilíbrio para que a temperatura do sêmen desça lentamente evitando, dessa maneira, o choque térmico. 6.5 O condicionamento do esperma: o enchimento e o fechamento das palhetas Para o condicionamento dos espermatozoides, sempre que se pratique a congelação do sêmen, como é o caso dos bovinos, foram utilizados diferentes sistemas como as ampolas e os tubos de celofane. No entanto, o mais frequente no Brasil é a aplicação do método francês das palhetas, de capacidade variável (0,25 ou 0,50 ml para o sêmen de touro) e grande resistência. As palhetas devem ser previamente identificadas de acordo com os códigos estabelecidos para estes casos nos centros correspondentes onde devem recolher as chaves de número e a data do congelamento, centro, raça e reprodutor com o seu nome correspondente. As operações de marcação, enchimento e fechamento das palhetas são totalmente automatizadas, no caso dos bovinos. 6.6 A congelação do sêmen Terminada a diluição, começa o processo de conservação correta do sêmen para que conserve sua efetividade de fecundação, para isso podemos recorrer à refrigeração e à congelação. O primeiro sistema é reservado aos animais cujos espermatozoides não resistem a temperaturas baixas ou quando se procura uma inseminação imediata. Nas espécies nas quais se pode realizar a congelação, como no bovino, mesmo com o aperfeiçoamento exaustivo das técnicas atuais, existe uma porcentagem de espermatozoides mortos na operação. Para evitar o máximo possível que isso aconteça, é feita uma descida gradual da temperatura, procurando uma curva adequada, de modo a evitar os riscos acima referidos. A congelação realiza-se a —196ºC com nitrogênio líquido; a conservação neste estado é praticamente indefinida. 6.6.1 Controle após a congelação Deve ser realizada em condições de qualidade, a qual é estabelecida em função do número de espermatozoides vivos e progressivamente móveis (em bovinos nunca inferior a 35%) que apareçam uma vez descongelada a palha. Terminada a análise e estabelecidos os correspondentes controles, os centros são responsáveis por: a) A distribuição de um sêmen controlado e de qualidade. b) O sêmen após descongelação contenha um número suficiente de espermatozoides móveis e fecundantes. 6.7 A qualidade sanitária do sêmen A qualidade sanitária do sémen depende diretamente das condições de vida sanitária em que se encontra o reprodutor, das condições de coleta do sêmen, do tratamento do mesmo e da sua manipulação. A infecção do esperma pode ocorrer durante a diluição e a conservação e, mais eficazmente ainda, durante a coleta e com o ar do ambiente. A infecção pode ser causada por: a) Agentes específicos das infecções genitais, que podem propagar doenças infecciosas através da inseminação (vibriose, tricomoníase, brucelose, etc.). b) Agentes não específicos como diferentes bactérias (estafilococos, estreptococos, colibactérias, germes pirógenos, etc.), fungos (micose) e vírus (IBR) que podem provocar inflamações dos órgãos genitais da fêmea e que exercem uma influência nociva dos seus produtos de metabolismo sobre o poder fecundante dos espermatozoides. Atualmente, é possível obter esperma estéril desde que se trabalhe corretamente com os diluentes; no entanto, apesar de todas as garantias que possam oferecer a tecnologia dos centros dos diferentes países, existe uma regulamentação jurídica clara, a fim de evitar a difusão de riscos para a saúde. 7. A INSEMINAÇÃO ARTIFICIAL NA PRÁTICA No processo de inseminação propriamente dito, o sêmen é introduzido e depositado nas vias genitais da fêmea mediante o instrumental adequado. Para o seu desenvolvimento no gado bovino, são necessárias uma série de operações. 7.1 Coleta e transferência no termo de transporte As palhetas são recolhidas pelos inseminadores nos centros levando-as em pequenos contentores de transporte que contêm nitrogênio líquido. Ao retirar a palheta do recipiente é conveniente tê-la perfeitamente localizada para conseguir uma correta manipulação da cesta onde está situada, uma vez que uma queda brusca da temperatura faz diminuir a sobrevivência das células espermáticas. 7.2 A descongelação Realiza-se rapidamente num banho de água ou num termo que mantém a temperatura da água entre 35-37ºC. Outros sistemas diferentes não são recomendados, pois aumentam o tempo de descongelação e diminuem a capacidade fecundante do sêmen. 7.3 A aplicação do sêmen no aparelho genital da vaca Uma vez descongelada a palheta, seca-se e homogeneíza-se o seu conteúdo, corta-se uma das suas extremidades selada com álcool polivinílico solidificado e introduz-se no cateter de inseminação, instrumento cilíndrico no qual se introduz a palheta, posteriormente ajusta-se perfeitamente para evitar perdas de material seminal e, no momento da aplicação, o seu conteúdo é empurrado através de um sistema de êmbolo. O cateter é revestido com uma bainha de plástico, descartável após cada utilização. O método técnico que se impôs atualmente é o americano, no qual o lugar ideal para depositar o sêmen é na bifurcação dos cornos uterinos guiando-se por palpação manual através da parede retal. 7.4 O momento ideal de inseminação na vaca Há uma série de fatores que determinam o momento ideal de inseminação da vaca: a) A capacidade de sobrevivência dos espermatozoides nos órgãos sexuais femininos. b) A necessidade da maturidade dos espermatozoides (capacitação). c) O tempo de maturidade do óvulo e sua passagem pelo oviduto. Em geral, como média, as vacas permanecem no cio por 18 horas e ovulam às 14 horas depois, sendo a vida do óvulo de 6 a 10 horas. Em função destes fatores e para obter uma fertilidade ideal as vacas podem ser servidas durante os últimos dois terços do período de cio, ou algumas horas depois de este ter terminado, o que na prática se traduz em que se observa o cio pela manhã, as vacas podem ser servidas nessa mesma tarde e as que mostram o cio pela tarde são inseminadas na manhã seguinte. Em caso de dúvidas é sempre melhor deixar passar mais tempo. 7.5 Inseminação em caprinos, ovinos, suínos, equinos, coelhos, aves e abelhas Nos ovinos e caprinos, a inseminação é feita com sêmen fresco e refrigerado, normalmente conservado a 16 ºC com ampolas de ácido acético. A técnica da inseminação em si é simples, mas requer a utilização de espéculo para abrir a vulva e guiar a pistola inseminadora, injetando a dose correspondente à entrada do colo do útero. A dose seminal depositada varia entre 0,2 e 0,4 ml em concentrações de 5 x 106 espermatozoides/ml. No caso dos caprinos, a técnica é semelhante à das ovelhas, com a ressalva de que as doses seminais são geralmente, um pouco mais elevadas. Em suínos utiliza-se para inseminação o sêmen fresco, a temperatura de conservação varia entre 40 ºC e 15 ºC. As técnicas de congelação resultam na obtenção de espermatozoides móveis após a descongelação, mas com má fertilidade. Na porca o cio ou estro, momento apropriado para a inseminação, tem uma duração aproximada de 3 dias. A ovulação ocorre às 35 horas após o início do cio; este fato acontece às 30-40 horas de imobilização ante o cachaço, sendo a sobrevivência do óvulo de 12 horas. As fêmeas em cada cio podem ser inseminadas uma ou duas vezes. O momento apropriado é 24 horas após o início do estro quando se aplica uma única dose; caso se aplicarem duas, recomenda-se fazê-la de 24 à 36 horas após o aparecimento do estro. Devido à disposição peculiar do colo do útero na porca, a prática da inseminação suína requer: a) Uma deposição do sêmen intrauterina. b) Uma fixação do cateter correta para estimular as contrações uterinas e facilitar o transporte de espermatozoides. c) Evitar o refluxo do sêmen e a consequente diminuição do número de espermatozoides, o que entra em detrimento com a finalidade da fertilidade. A forma do cateter é adaptada à necessidade de uma correta fixação cervical para praticar a inseminação intrauterina de um volume importante de sêmen diluído (cerca de 100 cc). Os diversos modelos existentes, com variantes, tratam de imitar a forma do pênis do macho e introduzem-se na vagina girando para a esquerda para permitir seu deslizamento e uma boa fixação. O sêmen contido no recipiente é depositado por gravidade no útero. Nos equinos, o sêmen utilizado é fresco, normalmente a 4 ºC. A técnica apresenta uma maior dificuldade decorrente da necessidade de utilizar um longo tubo acoplado ao cateter de inseminação para o acesso fácil à zona de deposição do esperma no aparelho genital da égua. A dose correspondente é injetada a nível uterino. Nos coelhos é utilizado sêmen fresco, refrigerado e diluído. Para inseminar existem vários procedimentos, embora o mais comum seja a utilização de palhetas e pistola de inseminação. A aplicação do esperma efetua-se entre 1 e 4 horas após a coleta do mesmo. Nas aves, a técnica de inseminação é realizada com sêmen fresco extraído pouco antes da sua implantação na fêmea, uma vez que na maioria das espécies se constata uma rápida diminuição das taxas de fecundação com o tempo. O material e a metodologia do inseminador consistem em pipetas para a obtenção do esperma, dosador de sêmen diluído, palhetas descartáveis e seringas adequadas para a colocação do sêmen no aparelho genital da fêmea. Os intervalos de inseminação são, geralmente, de uma semana. Nas abelhas, a inseminação artificial das rainhas é prática corrente em centros especializados na seleção de reprodutores. A técnica requer um efeito sedativo na rainha durante a manipulação, abertura da prega da vagina e introdução da seringa na vagina. Para efetuar estas operações é necessário utilizar um aparelho especial de inseminação. 8. RESUMO E PRIMEIRAS CONCLUSÕES Aspectos como a melhoria genética, a proteção sanitária ou a organização e gestão da empresa pecuária têm sido as principais motivações para que a técnica da inseminação artificial tenha se difundido atualmente nos países com uma pecuária organizada e desenvolvida. A utilização da técnica implica na utilização de um sêmen de qualidade, garantido pelos centros de inseminação. Através de técnicas laboratoriais, é possível prever essa qualidade mediante a realização de testes macroscópicos (motilidade massal) e microscópicos (quantidade, motilidade, porcentagem de espermatozoides anormais e densidade). Constatada a sua qualidade, o sêmen é diluído com o objetivo de conservá-lo e aumentar o volume de ejaculação, sendo-lhe adicionados diferentes tipos de diluentes e aditivos. O sêmen pode ser conservado refrigerado ou congelado com nitrogênio líquido a uma temperatura negativa de -196 ºC. Para obter uma porcentagem elevada de inseminações fecundantes nos bovinos, faz-se necessário a manipulação correta das palhetas, evitando as mudanças de temperatura até à sua posterior utilização. Os processos de descongelação, secagem e colocação no cateter devem ser realizados de forma rápida e eficiente. Nas espécies em que se utiliza sêmen fresco, além de um correto desenvolvimento da técnica em si, é de vital importância a conservação do mesmo a temperatura adequada, além da sua aplicação em um curto espaço de tempo para evitar baixas taxas de fecundação. Emanuel Isaque Cordeiro da Silva – Departamento de Zootecnia da UFRPE. Recife, 2020. REFERÊNCIAS BIBLIOGRÁFICAS -/- ASBIA. Informações Técnicas sobre inseminação artificial. Acesso em: Março de 2020. ASBIA. Manual de Inseminação de Artificial, Uberaba – MG: Associação Brasileira de Inseminação Artificial, 2003. BRACKETT, B. G.; JÚNIOR, G. E. A.; SEIDEL, S. M. Avances en zootecnia. Nuevas técnicas de reproducción animal. 1ª ed. Zaragoza: Editorial Acribia, 1988. BRASIL. Legislação Informatizada - Decreto n° 91.111 de 12/03/1985. Acesso em: Março de 2020. CLÉMENT, Jean Michel. Larousse agricultural dictionary. Paris: Larousse, 1981. DERIVAUX, Jules. Fisiopatología de la reproducción e inseminación artificial de los animales domésticos. Havana: Instituto Cubano del libro, 1976. GOFFAUX, M. Quelques aspects relatives a la technologie de insémination artificielle des bovins. Elevage et insémination, n. 216, p. 5-9. 1986. HAFEZ, E. S. E. Artificial Insemination in Reproduction in Farm Animals. Lea and Febiger, Philadelphia, p. 481-497, 1990. HOPPER, Richard M. (Ed.). Bovine reproduction. New Jersey: John Wiley & Sons, 2014. HUNTER, Ronald Henry Fraser et al. Physiology and technology of reproduction in female domestic animals. Londres: Academic Press, 1980. JOHNSON, L. A.; LARSSON, K. Deep freezing of boar semen. Uppsala: Swedish University of Agricultural Sciences, 1985. LABBATE, Rodolfo D. Manual del inseminador. Córdoba: Sayg, 2000. ORGEUR, P.; SIGNORET, J. P. L'activité sexuelle du taureau: revue bibliographique. Paris: INRA, 1990, 3 (4), pp.235-242. ORTUÑO, Arturo Duarte. Manual de inseminación artificial de ganado. Disponível em: ——. Acesso em: Março de 2020. PÉREZ PÉREZ, F.; PÉREZ GUTIÉRREZ, F. Reproducción animal, inseminación animal y transplante de embriones. Barcelona: Cientifico-medica, 1985. Y PÉREZ, Félix Pérez. Reproducción e inseminación artificial ganadera. Barcelona: Cientifico-Medica, 1966. SALISBURY, G. W.; VANDERMARK, N. L. Phisiology of the reproduction and artificial insemination of cattle. San Francisco : Freeman e Company, 1961, 630 p. SEVERO, N. C. História ilustrada da inseminação artificial. São Paulo: Livre Expressão, 2013. SOLTNER, D. La reproduction des animaux domestiques d’élevage. Zootechnie générale, v. 1, Paris: Sciences et techniques agricole, 1993. (shrink)

This study aimed to evaluate if eye blinks can be used to discriminate players with different performance in a session of Nintendo Entertainment System (NES) Tetris. To that end, we developed a state-of-the-art method for blink extraction from EAR measures, which is robust enough to be used with data collected by a low-grade webcam such as the ones widely available on laptop computers. Our results show a significant decrease in blink rate per minute (blinks/m) during the first minute of playing (...) Tetris. After having defined 3 groups of proficiency based on in-game performance (Novices, Intermediates, and Experts) we found out that expert players display a significantly lower decrease in blinks/m compared to novices during the first minute of gameplay, which shows that Tetris players' proficiency can be detected by looking at eye blinks/m variations during the early phase of a game session. This difference in blinks/m is observed throughout the entire game session, which supports the general conclusion that proficient Tetris players have a lower decrease in blinks/m, even when playing more difficult levels. Finally, we offer some interpretations of this effect and the relationship that our results may have with the visual cognitive workload experienced during the gameplay. (shrink)

The ever-evolving ways attacker continues to improve their phishing techniques to bypass existing state-of-the-art phishing detection methods pose a mountain of challenges to researchers in both industry and academia research due to the inability of current approaches to detect complex phishing attack. Thus, current anti-phishing methods remain vulnerable to complex phishing because of the increasingly sophistication tactics adopted by attacker coupled with the rate at which new tactics are being developed to evade detection. In this research, we proposed an adaptable (...) framework that combines Deep learning and Randon Forest to read images, synthesize speech from deep-fake videos, and natural language processing at various predictions layered to significantly increase the performance of machine learning models for phishing attack detection. (shrink)

Many neurodegenerative and neuropsychiatric diseases and other brain disorders are accompanied by impairments in high-level cognitive functions including memory, attention, motivation, and decision-making. Despite several decades of extensive research, neuroscience is little closer to discovering new treatments. Key impediments include the absence of validated and robust cognitive assessment tools for facilitating translation from animal models to humans. In this review, we describe a state-of-the-art platform poised to overcome these impediments and improve the success of translational research, the Mouse Translational Research (...) Accelerator Platform (MouseTRAP), which is centered on the touchscreen cognitive testing system for rodents. It integrates touchscreen-based tests of high-level cognitive assessment with state-of-the art neurotechnology to record and manipulate molecular and circuit level activity in vivo in animal models during human-relevant cognitive performance. The platform also is integrated with two Open Science platforms designed to facilitate knowledge and data-sharing practices within the rodent touchscreen community, touchscreencognition and mousebytes. Touchscreencognition includes the Wall, showcasing touchscreen news and publications, the Forum, for community discussion, and Training, which includes courses, videos, SOPs, and symposia. To get started, interested researchers simply create user accounts. We describe the origins of the touchscreen testing system, the novel lines of research it has facilitated, and its increasingly widespread use in translational research, which is attributable in part to knowledge-sharing efforts over the past decade. We then identify the unique features of MouseTRAP that stand to potentially revolutionize translational research, and describe new initiatives to partner with similar platforms such as McGill’s M3 platform. (shrink)

This is the first book in a two-volume series. The present volume introduces the basics of the conceptual foundations of quantum physics. It appeared first as a series of video lectures on the online learning platform Udemy.]There is probably no science that is as confusing as quantum theory. There's so much misleading information on the subject that for most people it is very difficult to separate science facts from pseudoscience. The goal of this book is to make you able (...) to separate facts from fiction with a comprehensive introduction to the scientific principles of a complex topic in which meaning and interpretation never cease to puzzle and surprise. An A-Z guide which is neither too advanced nor oversimplified to the weirdness and paradoxes of quantum physics explained from the first principles to modern state-of-the-art experiments and which is complete with figures and graphs that illustrate the deeper meaning of the concepts you are unlikely to find elsewhere. A guide for the autodidact or philosopher of science who is looking for general knowledge about quantum physics at intermediate level furnishing the most rigorous account that an exposition can provide and which only occasionally, in few special chapters, resorts to a mathematical level that goes no further than that of high school. It will save you a ton of time that you would have spent searching elsewhere, trying to piece together a variety of information. The author tried to span an 'arch of knowledge' without giving in to the temptation of taking an excessively one-sided account of the subject. What is this strange thing called quantum physics? What is its impact on our understanding of the world? What is ‘reality’ according to quantum physics? This book addresses these and many other questions through a step-by-step journey. The central mystery of the double-slit experiment and the wave-particle duality, the fuzzy world of Heisenberg's uncertainty principle, the weird Schrödinger's cat paradox, the 'spooky action at a distance' of quantum entanglement, the EPR paradox and much more are explained, without neglecting such main contributors as Planck, Einstein, Bohr, Feynman and others who struggled themselves to come up with the mysterious quantum realm. We also take a look at the experiments conducted in recent decades, such as the surprising "which-way" and "quantum-erasure" experiments. Some considerations on why and how quantum physics suggests a worldview based on philosophical idealism conclude this first volume. This treatise goes, at times, into technical details that demand some effort and therefore requires some basics of high school math (calculus, algebra, trigonometry, elementary statistics). However, the final payoff will be invaluable: Your knowledge of, and grasp on, the subject of the conceptual foundations of quantum physics will be deep, wide, and outstanding. Additionally, because schools, colleges, and universities teach quantum physics using a dry, mostly technical approach which furnishes only superficial insight into its foundations, this manual is recommended for all those students, physicists or philosophers of science who would like to look beyond the mere formal aspect and delve deeper into the meaning and essence of quantum mechanics. The manual is a primer that the public deserves. (shrink)

Aristotle's Poetics has been the basis for theories of entertainment for over 2,000 years. But the general approach it uses has led to a number of gaps, contradictions, and difficulties in predicting the success of books, plays, movies, and entertainment as a whole, so much so that sayings like "there are no rules, but you break them at your peril," and "in Hollywood, nobody knows anything" have become widespread and accepted. -/- However, it turns out that a model of entertainment (...) that defines literary conventions by the pleasurable feelings they release in the brain, and then equates them with outside experiences that people subconsciously attach to the literary work, in the same way that we can be conditioned to feel love when we view our wedding rings, can actually resolve almost every seeming contradiction in Aristotle's ideas and traditional theories of storytelling when compared to real-world results. -/- Furthermore, this approach can be extended to the other major forms of art, including painting, music and even video games, leading to a "Non-Aristotelian" theory that modifies the fundamental aspects of each of these fields, but in a natural and necessary way, which strengthens both our understanding and our ability to predict the success or failure of art in the future. -/- My work as a vlogger and writer, mostly done via my Youtube channel "StoryBrain," has been viewed over 6 million times, and written about in MovieMaker magazine, Creative Screenwriting magazine, on the front page of major sites like Reddit, Roger Ebert online, and in international newspapers like the Sydney Morning-Herald in Australia and Fotogramas in Spain. My work is also the subject of a chapter of the currently-in-release book "Neuro-Design," by Kogan Page publishing, called "The Neuro Movie Analyst." This paper is a detailed introduction to the theory of Emotional Indiscretion which I have talked about in my work. (shrink)

About death, grief, mourning, life after death and immortality. Why should we die like humans to survive as a species. -/- "No one wants to die. Even people who want to go to heaven don't want to die to get there. And yet death is the destination we all share. No one has ever escaped it. And that is as it should be, because Death is very likely the single best invention of Life. It is Life's change agent. It clears (...) out the old to make way for the new." (Steve Jobs) -/- CONTENTS: -/- Death - Philosophy of death - Religions - - Animism - - Atheism - - Buddhism - - Christianity - - Hinduism - - Islam - - Jainism - - Jehovah's Witnesses - - Judaism - - Latter-day Saints - - Spiritism - Symbolism - Personification of Death - - Notable personifications - - In mythologies - - - Hindu mythology - - - In Japan - - - Slavic paganism - - - Lithuanian paganism - - In the three monotheistic religions - - - Judaism - - - Christianity - - - In Mexico - - - Islam - Axiochos - - The characters of dialogue - - Dialogue - - Prologue - - Arguments - - Citations - Paradise - - Greco-Roman mythology - - Mesopotamian mythology and influences - - According to Judaism - - According to Christianity - - - According to Catholicism - - - According to Protestantism - - - According to the Church of Jesus Christ of Latter-day Saints - - According to Islam - - According to Hinduism - - According to modern spiritualities - - - According to the esoteric - Hell - - Mesopotamian origins - - According to Christianity - - - Names appearing in the biblical texts - - - Medieval artistic representations - - - Concepts according to Christian movements - - According to Judaism - - According to Islam - - According to Buddhism - - According to Hinduism - - According to modern esotericism - - - According to Aïvanhov - - - According to Allan Kardec - - Philosophy - - - Jewish Kabbalah - - - Sartre - - - Popular wisdom Funerals - The funeral ritual: a rite of passage - Prehistory - Ancient death customs - - The family bereavement - - Mummification - - Sarcophagi - - Funerals - - Ancient Greece - - Ancient Rome - - Celts, Germans and Scandinavians - Religious funeral rites - - Buddhism - - Judaism - Christianity - - Protestantism - - Islam - Funeral rites by continent - - In Africa - - In Europe - The contemporary era - Mourning (Grief) - - Steps - - - Death of a close - - Loss events without mourning value (white factors) - - Duration and manifestations - - Risks - - Colors - Graveyards (Cemeteries) - - First cemeteries - - Cemeteries today - Funerary art - Dolmens - - Types of dolmens - - Function - - Location - Passage graves - Cenotaphs - - Famous cenotaphs - Lanterns of the Dead Afterlife - History - Questions about death and immortality - Testimonials - - Spiritualistic experiences - - Popular literature on the afterlife - - "Memories" and reminiscences - - Early studies of the science of the 19th century and early 20th century - Types of scenarios - Some religious and philosophical concepts - - Afterlife in Buddhism - - Afterlife in Christianity - - According to Hinduism - - According to Islam - - According to Judaism - - According to Mormonism - - According to the ancient philosophies - - According to Spiritism - - According to Native American traditions - - According to Vedism - - According to Esotericism - In science - Near-death experiences - - Clinical death - - NDE frequency - - Effects of depth of NDE on survival - - Near-death experiences and shared-death experience - - - The first contemporary testimonials - - - Experience according to Moody - - - The concept of "shared death" - - - The NDE scales - - The study of Pim van Lommel - - Spiritual and patient point of view - - - Survivalists studies - - - The religious understanding of the phenomenon - - Scientific views - - - Physiological explanation - - - Psychological explanation - Reincarnation - - Religions - - - In Hinduism - - - In Jainism - - - In Buddhism - - - In Judaism - - - In Christianity - - - In Islam - - In contemporary times - - - Esotericism - - - Works of the psychiatrist Ian Stevenson - - - Radical increase in life expectancy and artificial reincarnation - - Criticism - - - Arthur Schopenhauer - - - Ramana Maharshi - - - Rene Guenon - - - Ananda Kentish Coomaraswamy - Metempsychosis - - Theories - - Ideas - Maschalismos Immortality - Immortality of the soul and religious traditions - - Buddhism - - Christianity - - Islam - - Mormonism - Contemporary perception of the immortality of the body - - Observation in the animal kingdom - - Perspectives for mankind - Immortality in science - - Alexis Carrel - - Jean Rostand - - Hayflick limit - - Étienne-Émile Baulieu and DHEA - - Aubrey de Grey - - Professor Skulachev - - Regenerative medicine - - Professor Christopher Jaeger - Eternal Return - - According to the Mesopotamians - - According to Heraclitus and the Stoics - Fountain of Youth - - History of myth and relatives myths - - - In Roman mythology, Germanic, Celtic and Irish - - - In the Middle-East - - - In Spain - - - In the Bible - - The fountain in art and literature - - Painting - - - Literature and cinema - - Persistent of the myth until today - Senescence - - Why do we age? - - Gene regulation - - Cellular senescence Undead - Ghoul - Lich - Mummy - Skeleton - Vampire - Zombie - Other legendary creatures - Creatures specific to a particular universe - Spiritism - - Point out - - Origins of spiritism - - - The traditions through the ages - - - Advent of Christianity in Europe - - - The survival of necromancy - - - The precursors - - - Relations of spiritualism to science - Mediumship - - History - - Skeptical point of view - - Favorable doctor's viewpoint - Ghosts - - Appearance - - Belief in ghosts - - Origin - - - Duality and return dead - - - Ancient roots - - Typology - - - Poltergeists - - - Revenants - - - Ghosts - - - Banshees - - - Apparitions of crisis - - - Phantasms of the living - - - Vision of his own double - - - Ghost armies - - - Ghosts of animals - - - Means of transport - - Science perspective - - - Hallucinations - - - Sleep paralysis - - - Induced ghosts - - - Aches and infrasounds - - - Magnetic fields - Vampires - - Characteristics - - - Vampire transformation - - - Identification - - - Faculties - - Protection against the vampires - - - Precautions at death and burial - - - Apotropaic objects and places - - Destruction of vampires - Zombie - - The concept - - Africa and voodoo - - - West Africa - - - South Africa - - - In Haiti (and the Caribbean) - - - Scientific research - - The "revenants" in the Western imaginary Death in art - Memento mori - - History - - - Antiquity - - - Christianity - - - Mexican syncretism - - Performing arts - - - In painting - - - In literature - - - In movies - - - In video games - - - In Japanese animation - - - In music - The iconography of Weighing of souls (Particular judgment) - - Origin - - Written sources - - Weighing in Romanesque art - - Weighing in Gothic art - - Weighing in the late Middle Ages: to a new iconography - - Weighing of souls or actions? - Poems - - Charlotte Brontë, “On the Death of Anne Brontë” - - Edgar Allan Poe, “Annabel Lee” - - Edna St. Vincent Millay, “And you as well must die” - - Emily Dickinson, “Because I could not stop for Death” - - Emily Dickinson, “If I Should Die” - - Lord Byron, “Epitaph to a Dog” - - Pablo Neruda, “Only Death” - - Stephen Crane, “God Lay Dead in Heaven” - - W. B. Yeats, “He Wishes His Beloved Were Dead” - - Rainer Maria Rilke, “Death” - Paintings - - The Three Dead Kings - - The Death of Nelson - - Beata Beatrix - Sculptures - - The Kiss of Death - - Background - - Imagery - - Angel of Grief - - Fallen Astronaut - Quotes References About the author - Nicolae Sfetcu - - By the same author - - Contact Publishing House - MultiMedia Publishing -/- DOI: 10.58679/TW44411. (shrink)

When Kant begins his judgements of beauty in several step eventually, we reach a nexus to which taste and a certain subjectivity is taken into account. But at the end of the day we ask ourselves why is it beautiful? There are certain objects such as tragic poems and video games that are beautiful deemed beautiful. In this essay I will explore the tension created by Kant’s judgements of beauty and the beauty of tragedy through the medium of poetry (...) and video games. Mary Mothersill’s (2004) Beauty and the Critics Judgment: Remapping Aesthetics article brings together how word itself authorizes the notion of beauty from which Kant’s own struggle with this tension is further unresolved. This important development is brought into the forefront when we treat art as an epistemic experience much like how John Dewey (1934) wrote in his book Art as Experience. By framing this with Georg Trakl’s poem Grodek and Hideo Kojima’s video game Death Stranding, we see that Kant’s judgments show an understanding of the beauty of tragedy. (shrink)

An animated cartoon is a short, hand-drawn (or made with computers to look similar to something hand-drawn) moving picture for the cinema, TV or computer screen, featuring some kind of story or plot. -/- Animation is the optical illusion of motion created by the consecutive display of images of static elements. In film and video production, this refers to techniques by which each frame of a film or movie is produced individually. Computer animation is the art of creating moving (...) images via the use of computers. It is a subfield of computer graphics and animation. Anime is a medium of animation originating in Japan, with distinctive character and background aesthetics that visually set it apart from other forms of animation. An animated cartoon is a short, hand-drawn (or made with computers to look similar to something hand-drawn) moving picture for the cinema, TV or computer screen, featuring some kind of story or plot (even if it is a very short one). Manga is the Japanese word for comics and print cartoons. Outside of Japan, it usually refers specifically to Japanese comics. Special effects (abbreviated SPFX or SFX) are used in the film, television, and entertainment industry to visualize scenes that cannot be achieved by normal means, such as space travel. Stop motion is a generic gereral term for an animation technique which makes static objects appear to move. (shrink)

In this paper, I am predominantly interested in interpretations of emotional states portrayed in images of the face. In particular, the interpretations which have grown around the series of busts by Franz Xaver Messerschmidt, as well as those which attempt to expound Bill Viola’s video works. I will refer to aspects of physiognomy, artistic practices and aesthetics, in order to show what each of these tells us about our attitude to the body and emotions and what happens to the (...) body while a person is experiencing an emotion. My aim is to demonstrate how the act of depicting the body, regarded as a cognitive process in an artistic medium accompanied by a special kind of aesthetic experience, becomes a means of communication which is capable of conveying a universal message and of allowing us to define our attitude to the body. (shrink)

The ability of videos to serve as evidence of racial injustice is complex and contested. This essay argues that scrutiny of the Black body has come to play a key role in how videos of police violence are mined for evidence, following a long history of racialized surveillance and attributions of threat and superhuman powers to Black bodies. Using videos to combat injustice requires incorporating humanizing narratives and cultivating resistant modes of looking.

Ontologies are today being applied in almost every field to support the alignment and retrieval of data of distributed provenance. Here we focus on new ontological work on dance and on related cultural phenomena belonging to what UNESCO calls the “intangible heritage.” Currently data and information about dance, including video data, are stored in an uncontrolled variety of ad hoc ways. This serves not only to prevent retrieval, comparison and analysis of the data, but may also impinge on our (...) ability to preserve the data that already exists. Here we explore recent technological developments that are designed to counteract such problems by allowing information to be retrieved across disciplinary, cultural, linguistic and technological boundaries. Software applications such as the ones envisaged here will enable speedier recovery of data and facilitate its analysis in ways that will assist both archiving of and research on dance. (shrink)

Studios resist reductive analyses. Although isolated, they have their own frontstages and backstages, and like the laboratories studied by Knorr-Cetina, function as more than simply “internal environments.” The placeness of studios leaves both audible traces (the early reflections of sounds) and visible ones, if we think of those studios that become shrines or pilgrimage sites, or photo or video documentation of studios that provide the outside world a brief glimpse into the interior isolation of recording studio life. It would (...) seem that major facilities such as Abbey Road, Ocean Way or Sun Records are emphatically not “placeless place[s]” (Gieryn 2008), nor are they decontextualized from their immediate geographic surroundings. -/- Although atomized project studios (including bedroom studios, garages, and barns) may not immediately appear to be embedded within the social relations of a bounded local culture, many such studios are embedded within the social relations of specific online networked cultures,20 as is evinced by the vibrant online recording engineer communities that support everything from amateur acoustician pedagogy to advanced mixing techniques and even online mixing/remixing competitions. Such studios can be considered as “local anchoring points in the cultural metropolises of the global urban network” (Watson, Hoyler and Mager 2009). Knorr-Cetina (1992) suggests something similar when she discusses how laboratories function not just as “internal environments” but rather as “a link between internal and external environments, a border in a wider traffic of objects and observations”. Like their larger counterparts, project studios are acoustic environments isolated from various perceived outsides, use the very same technologies of audition to make up for the constrained paths of audibility, and similarly shape the kinds of musical and social practices that can transpire within (even if this shaping process effectively restricts the studio’s usage to a single musician at a time). I argue that the more we wish to understand the vibe and sound of the studios, the more we may wish to consider the studio as an active agent in the process of recording production, an actor in the social worlds that inhabit its very wombs and bunkers. (shrink)

In juxtaposition with the myth and tragedy of Ovid’s Medea, this paper investigates the possibility within the Kantian conception of agency of understanding moral evil as acting against one’s better judgment. It defends the thesis that in Kant self-deception, i. e. the intentional untruthfulness to oneself, provides the fundamental structure for choosing against the moral law. I argue that, as Kant’s thought progresses, self-deception slowly proceeds to become the paradigmatic case of moral evil. This is discussed with regard to two (...) important topics in his later moral philosophy: the doctrine of radical evil and the crucial role of the duty of truthfulness in ethics. The inquiry into Kant’s theory of conscience unfolds both against this theoretical background and in light of its historical roots in the polemic against casuistry and probabilism. This contribution closes with a brief look at the tools Kant implements to counter this tendency to self-deception in moral judgment and particularly at the role casuistry plays within his conception of moral education. (shrink)

In today’s global higher education environment, international students represent not only an important source of external income for universities: the degree of cross-border student mobility also reflects the internationalization of higher education sector. Universities have engaged in efforts to sell themselves to prospective students and promotional videos are among the most widely used marketing tools for this purpose. This study reports the results of a study analyzing the content of 140 higher education promotional videos from 14 countries available on YouTube. (...) The results reveal that while the pattern of use of YouTube for two-waycommunication with viewers, information contents and appeal messages among sampled universities is fairly homogenous, some marked differences emerge when cultural background and global position ranking of the university are taken into account. The implications of these findings are that, although, transnational higher education has been profoundly globalized, culture still plays a significant role in marketing practice for the recruitment of mobile students. In addition, different universities have various student-targeted segments. These findings provide the basis of a series of recommendations for universities looking to optimize their use of YouTube and promotional video design to market to international students. (shrink)

This study examined the effectiveness of video-based instruction (VBI) as a learning remediation strategy in teaching Laws of Thermodynamics among Prospective Science Teachers at Bulacan State University. The researchers employed – a one-group pretest–posttest design to assess the 35 prospective science teachers who were purposively selected. More so, data was gathered through researcher-made pretest-posttest achievement tests and an adapted Likert survey questionnaire. The data was treated descriptively and inferentially. The findings showed that VBI as a learning remediation strategy positively (...) affected the preservice teachers’ achievement. In addition, data shows a significant difference between the pretest and posttest in teaching the laws of thermodynamics. The ease of use of VBI as learning remediation in teaching laws of thermodynamics in terms of pedagogical content, individual learning focus, ability to work at pace, and increased engagement was very effective. The learning achievement of the prospective science teachers was significantly related to the ease of use of VBI as a learning remediation. However, it was observed to have a high positive association. Future use of VBI can enhance the prospective science teacher’s competence in using VBI in teaching science subjects. (shrink)

Marginal comments on student essays are a near-universal method of providing feedback in philosophy. Widespread as the practice is, however, it has well-known drawbacks. Commenting on students' work in the form of a video has the potential to improve the feedback experience for both instructors and students. The advantages of video feedback can be seen by examining it from both the professor's and the student's perspective. In discussing the professor's perspective, this article shares observations based on the author's (...) experience delivering feedback through video. Turning to the student's view, it discusses qualitative feedback solicited from students that indicates a clear preference for video feedback over written marginalia. In particular, students describe video feedback as more informative, more personal, better at suggesting improvements on future assignments, enhancing the professor's ability to communicate through tone of voice and gesture, and easier to understand compared to written feedback. (shrink)

Since the launch of applications such as DALL-E, Midjourney, and Stable Diffusion, generative artificial intelligence has been controversial as a tool for creating artwork. While some have presented longtermist worries about these technologies as harbingers of fully automated futures to come, more pressing is the impact of generative AI on creative labour in the present. Already, business leaders have begun replacing human artistic labour with AI-generated images. In response, the artistic community has launched a protest movement, which argues that AI (...) image generation is a kind of theft. This paper analyzes, substantiates, and critiques these arguments, concluding that AI image generators involve an unethical kind of labour theft. If correct, many other AI applications also rely upon theft. (shrink)

This paper has three objectives. First, I argue that apprehending an installation artwork is similar to apprehending an artwork for performance: in each case, audiences must recognize a relationship between the performance or display one encounters and the parameters expressed in the underlying work. Second, I consider whether realizations are also artworks in their own right. I argue that, in both installation art and performance, a particular realization is sometimes an artwork in its own right (even as it realizes another (...) work). I offer criteria for determining when this is the case. Application of the criteria yields the verdict that performances are sometimes artworks in their own right, while displays of installation artworks rarely are. This difference, though, is merely contingent on the conventions of the respective art forms. Third, I address ontological concerns about entities that are both abstract and temporal, as many artworks are on my analysis. (shrink)

This paper explores the benefits of video feedback for teaching philosophy. Our analysis, based on results from a self-report student survey along with our own experience, indicates that video feedback possesses a number of advantages over traditional written comments. In particular we argue that video feedback is conducive to providing high-quality formative feedback, increases detail and clarity, and promotes student engagement. In addition, we argue that the advantages of video feedback make the method an especially apt (...) tool for addressing challenges germane to teaching philosophy. Video feedback allows markers to more easily explain and illustrate philosophical goals and methods. It allows markers to model the doing of philosophy and thereby helps students to see philosophy’s value. Video feedback is a promising tool for addressing both cognitive and affective barriers to learning philosophy. Such advantages are especially valuable in the context of a student-centered, intentional learning framework. In light of these advantages, we find that video feedback is underappreciated and underutilized. (shrink)

The relationship between space and human occurs through the actions performed with the body. The abstraction study as an exploration of the body is one of the significant practices for first-year design students. However, there are not enough investigations for design students regarding body, space and basic design principles. This paper aims to explore the potentiality and limitations of the body-abstraction process by comparing the impact of two different educational models on students' perception and improvement. The applied methodology includes comparing (...) two design processes of the basic design course depending on parameters: Given example, source of the video, type of movement, the number of the selected-used scenes, mode of sketching, the method for production, requested outcome, the scale of the study, the material of models and critique of the video. The results present that the activation of the body through mental practice, drawing and modelling stages is critical to understand its abstract and spatial capabilities. The realisation of the potentials in the relationship between body and abstraction in spatial perception would enable us to create an advanced design process addressing more original concepts. (shrink)

Most recent discussions of reasons in art criticism focus on reasons that justify beliefs about the value of artworks. Reviving a long-neglected suggestion from Paul Ziff, I argue that we should focus instead on art-critical reasons that justify actions—namely, particular ways of engaging with artworks. I argue that a focus on practical rather than theoretical reasons yields an understanding of criticism that better fits with our intuitions about the value of reading art criticism, and which makes room for a nuanced (...) distinction between criticism that aims at universality and criticism that is resolutely personal. (shrink)

The goal of this paper is to see how mental and language representations are unique from a video-game perspective, using two main criteria. First, I will posit that the level of being both an interactive work of fiction and a self-involving interactive fiction belongs to a fuzzy interval and that some works – and, therefore, some video games – are more immersive than others. Second, I will observe how propositions tie the player’s representations of the real world and (...) the game world. Starting from psychological theories of pretense in children’s make-believe games, I will then expand Nichols and Stich’s cognitive theory of pretense to include an extra layer related to the game world, i.e., player-specific representations that govern player-specific propositions. The representations dealing with the work world are the socially shared ones, while the possible-world representations, dealing with most of the game world, are player-specific and tied to unique language use. (shrink)

Modern technology plays an important role in our daily lives. Many people use technology for their works, interactions, and special interests such as art. Art as a discipline, which expresses human emotion and creative side, takes a new form for its contextualization with the help of information technology. A neologism for this discipline is “digital art.” Some experts who employ a traditional value in their aesthetical perspective consider this new approach unlikely. Walter Benjamin, an eminent figure from this group, stated (...) that art must have an aura in its production as is the case in paintings. With this aura, the work of art and not artwork has uniqueness of value. However, the problem arises when information technology becomes a predominant tool for the work of art. Digital art does not consider the aura as the core value in defining something as a work of art. Furthermore, digital artists think that art can exist within a digital object and maintain its uniqueness. Parallel with the latter, this article will describe the dispute and make a clear statement that a work of art in the digital age does not require aura. (shrink)