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Les francais et le nouveau monde numérique tns - novembre 2011
1 Les Français à la découverte du nouveau
monde numérique
2 Les Français déjà de plain pied
dans le nouveau monde… à leur insu ?
3 Un nouveau monde numérique
attirant, malgré de vrais clivages…
4 Mais ce nouveau Monde numérique :
terre promise ou terre damnée ?
5 Un nouveau monde qu’il reste
à cartographier
Habits that block creativity
1) Habits and thought patterns developed over time can block creativity by making us rigid in our thinking and less open to new ideas. Our tendency is to rely on what is known and familiar rather than exploring unfamiliar or unknown options.
2) As we gain experience, we develop mental categories to organize information, but these categories can also prevent insight if we only try to fit new problems into existing frameworks rather than considering wholly new approaches.
3) Many common obstacles to creativity arise from social and psychological factors that discourage behaviors like asking questions, taking risks, being different from others, or maintaining an openness to uncertainty. Overcoming these blocks requires recognizing how our default ways of thinking can interfere with creativity.
16 color 1
The three key points are:
1. Light is a form of radiant energy that consists of photons behaving in a uniform wave pattern. Visible light is a small portion of the electromagnetic spectrum perceivable by the human eye between 400-700 nm wavelengths.
2. Color is perceived when light strikes an object and is reflected to the eye. The wavelengths reflected or absorbed by the object determine the color perceived. Pigments selectively reflect wavelengths to produce color.
3. In light theory, the primary colors are red, blue, and green, while in pigment theory they are red, yellow, and blue. Additive color mixing combines light wavelengths, while subtractive mixing combines pigments. Both produce different
Observatoire des réseaux sociaux - IFOP - 6ème édition - Novembre 2011
L’Observatoire des réseaux sociaux est une enquête quantitative réalisée chaque année depuis l’automne 2007 par questionnaire auto-administré en ligne auprès d’un échantillon représentatif de la population internaute française en âge de voter (18 ans et plus).
Pour cette nouvelle enquête, l’Ifop a interrogé 2 080 internautes du 18 au 27 octobre 2011.
35 réseaux sociaux ont été étudiés. Les nouveaux réseaux sociaux testés sont Branch Out, Google+, Jaiku, Louer un étudiant, Wizbii et Yupeek. Les Créateurs du possible, testé en 2010, a été remplacé par Planète UMP.
La représentativité de l’échantillon a été assurée par la méthode des quotas appliquée aux critères suivants : sexe, âge, profession de la personne interrogée, région et catégorie d’agglomération.
L’échantillon constitué a fait l’objet d’un redressement sur la base des critères sociodémographiques usuels retenus en quotas et de la fréquence d’utilisation du web. Ce redressement a pu être réalisé à partir de données Ifop issues de son enquête annuelle de profiling de la population internaute française, réalisée par téléphone.
Habit 1 Be Proactive
Habit 1 discusses being proactive, which means taking responsibility for your own behavior and decisions rather than blaming external factors. Proactive people make conscious choices based on their values, while reactive people blame conditions and other people. The document emphasizes that we have freedom to choose our responses and that what matters most is how we respond to life's experiences. It encourages focusing on the things we can control within our circle of influence.
Habit 1 Be Proactive Stephen Covey
The document discusses principles of personal management and proactivity. It emphasizes that we are responsible for our own lives and behaviors, and that we have the power to choose our responses rather than blaming external factors. It introduces the concept of being proactive versus reactive, and encourages focusing our efforts on things we can control and influence rather than things outside our control. The document advocates examining our own paradigms and language to determine if they are reality-based or conditioned responses, and choosing to be proactive rather than acted upon.
Recommended
Les francais et le nouveau monde numérique tns - novembre 2011
1 Les Français à la découverte du nouveau
monde numérique
2 Les Français déjà de plain pied
dans le nouveau monde… à leur insu ?
3 Un nouveau monde numérique
attirant, malgré de vrais clivages…
4 Mais ce nouveau Monde numérique :
terre promise ou terre damnée ?
5 Un nouveau monde qu’il reste
à cartographier
Habits that block creativity
1) Habits and thought patterns developed over time can block creativity by making us rigid in our thinking and less open to new ideas. Our tendency is to rely on what is known and familiar rather than exploring unfamiliar or unknown options.
2) As we gain experience, we develop mental categories to organize information, but these categories can also prevent insight if we only try to fit new problems into existing frameworks rather than considering wholly new approaches.
3) Many common obstacles to creativity arise from social and psychological factors that discourage behaviors like asking questions, taking risks, being different from others, or maintaining an openness to uncertainty. Overcoming these blocks requires recognizing how our default ways of thinking can interfere with creativity.
16 color 1
The three key points are:
1. Light is a form of radiant energy that consists of photons behaving in a uniform wave pattern. Visible light is a small portion of the electromagnetic spectrum perceivable by the human eye between 400-700 nm wavelengths.
2. Color is perceived when light strikes an object and is reflected to the eye. The wavelengths reflected or absorbed by the object determine the color perceived. Pigments selectively reflect wavelengths to produce color.
3. In light theory, the primary colors are red, blue, and green, while in pigment theory they are red, yellow, and blue. Additive color mixing combines light wavelengths, while subtractive mixing combines pigments. Both produce different
Observatoire des réseaux sociaux - IFOP - 6ème édition - Novembre 2011
L’Observatoire des réseaux sociaux est une enquête quantitative réalisée chaque année depuis l’automne 2007 par questionnaire auto-administré en ligne auprès d’un échantillon représentatif de la population internaute française en âge de voter (18 ans et plus).
Pour cette nouvelle enquête, l’Ifop a interrogé 2 080 internautes du 18 au 27 octobre 2011.
35 réseaux sociaux ont été étudiés. Les nouveaux réseaux sociaux testés sont Branch Out, Google+, Jaiku, Louer un étudiant, Wizbii et Yupeek. Les Créateurs du possible, testé en 2010, a été remplacé par Planète UMP.
La représentativité de l’échantillon a été assurée par la méthode des quotas appliquée aux critères suivants : sexe, âge, profession de la personne interrogée, région et catégorie d’agglomération.
L’échantillon constitué a fait l’objet d’un redressement sur la base des critères sociodémographiques usuels retenus en quotas et de la fréquence d’utilisation du web. Ce redressement a pu être réalisé à partir de données Ifop issues de son enquête annuelle de profiling de la population internaute française, réalisée par téléphone.
Habit 1 Be Proactive
Habit 1 discusses being proactive, which means taking responsibility for your own behavior and decisions rather than blaming external factors. Proactive people make conscious choices based on their values, while reactive people blame conditions and other people. The document emphasizes that we have freedom to choose our responses and that what matters most is how we respond to life's experiences. It encourages focusing on the things we can control within our circle of influence.
Habit 1 Be Proactive Stephen Covey
The document discusses principles of personal management and proactivity. It emphasizes that we are responsible for our own lives and behaviors, and that we have the power to choose our responses rather than blaming external factors. It introduces the concept of being proactive versus reactive, and encourages focusing our efforts on things we can control and influence rather than things outside our control. The document advocates examining our own paradigms and language to determine if they are reality-based or conditioned responses, and choosing to be proactive rather than acted upon.
Fat elightingguide
The document provides guidance on the process of stage lighting design. It outlines the key steps a lighting designer would follow, including: 1) Analyzing the script to understand technical requirements and creative vision; 2) Consulting with the director and other designers to coordinate concepts; 3) Plotting lighting areas and special effects needed on a floor plan; 4) Determining the general lighting pattern and instrument placement based on the set layout and theater space. The goal is to create an environment that supports the action and communion between actors and audience through strategic use of light. Coordination with other designers and an understanding of theatrical principles are emphasized.
Linear non linear thought
Linear thinking is straightforward and follows a direct path to solve problems, while nonlinear thinking considers alternative approaches and hidden meanings. Fuzzy logic allows for ambiguity and dealing with true meanings that are not clearly stated. The document discusses how these different thought processes - linear, nonlinear, and fuzzy logic - are used in everyday life and thinking. The author thinks nonlinearly to plan solutions but linearly to implement them, and uses fuzzy logic to understand true meanings behind ambiguous statements.
Principles of visual perception
The document discusses principles of visual perception in humans and other animals. It notes that while humans rely heavily on vision, the way we perceive the world is an active process of interpretation rather than a passive recording. Different animals perceive the world in very different ways depending on factors like the structure of their eyes, visual acuity, and the portion of the brain devoted to vision. The document also discusses how humans organize visual information through unconscious categorization in order to simplify perception and make the world more meaningful and predictable.
Visual perception
This document discusses several factors that can influence visual perception, including:
1. Personality traits like tolerance for ambiguity and impulsivity vs reflectivity.
2. Socio-cultural influences like gender, occupation, education, and cultural background that shape how people interpret images.
3. Contextual factors like mood, expectations, and motivations that can cause the same event or image to be perceived differently by different individuals.
What is imagination 2
This document summarizes an episode of "The Infinite Mind" radio program about imagination. The episode features interviews with psychologists and experts on childhood development discussing topics like the origins and importance of imagination and pretend play in children. It also includes segments with guests from the fields of education, children's literature, and video game design discussing how imagination is fostered and applied in their respective domains.
What is imagination
This document discusses the role of imagination in problem solving, desires, and managing people. It defines imagination as the ability to form mental images of things not physically present and notes that imagination allows one to face difficulties resourcefully. The document emphasizes that every idea is born in the imagination and encourages tapping into one's imagination by visualizing solutions to contemplated changes with vivid mental images to fully spark the imagination.
Barriers to idea generation for collaborative problem solving
This document discusses barriers to creative idea generation during collaborative problem solving. It aims to identify barriers and develop a formula to determine individuals' Brain Dominance Profiles (BDP), which indicate their thinking preferences. The document reviews how BDP relates to different processing modes and can influence idea generation. It suggests that understanding BDP and using a whole-brain approach can help maximize creative potential and overcome barriers during collaboration.
Assignment #10 composition
This document provides instructions for a two-part visual arts assignment combining the elements of composition: balance, emphasis, and continuity.
Part A instructs students to create a composition using four vertically arranged cut-out photographic images glued to a cardboard base to demonstrate balance, emphasis, and continuity. The images are to include a background, mid-ground object, foreground object, and person.
Part B requires students to submit a one page typed rationale in bullet points explaining how their composition uses balance, emphasis, and continuity. The model and rationale are due on the date listed in the course syllabus.
Assignment #9 unity
This document provides instructions for a two-part assignment on unity in composition for a visual imagination class. Students are asked to create a collage (Part A) that demonstrates visual and intellectual unity through techniques like repetition, continuity, enclosure, harmony, and common themes. Specific criteria are outlined for the collage, including size, layout, number of cutouts used, and labeling. Students must also submit a rationale (Part B) explaining how their collage achieves visual and intellectual unity in under one page. The assignment is due according to the date in the class syllabus.
Assignment #8 texture
This document provides instructions for an assignment asking students to write a short story and create a corresponding texture plate to allow blind people to experience the story through touch. Students must write a narrative describing 10 notable events that can be supported by different textures adhered to cardboard. The textures should be arranged in a logical sequence to guide a blindfolded classmate's hand along the plate as they read the story aloud. An example story is provided that references textures like an ID card, door handle, bump on the forehead, fish scales, waterfall, bullfrog, drinking straw, slithery sensation, tentacles, and more.
Assignment #7 color harmonies
This 3 sentence summary provides the key details about the document:
The document outlines Assignment #7 which asks students to illustrate 6 different color harmonies - including monochromatic, analogous, complementary, split complementary, double complementary, triadic, and tetradic - using watercolors in a grid format on Bristol board. Specific instructions are given for rendering the project, including outlining a border, using a 2x3 grid, labeling the color harmonies used, and meeting criteria for accuracy, neatness, and properly applying the watercolors. Students are encouraged to get feedback but must complete the assignment themselves.
Assignment #6 shape shifting
The document describes an assignment to visualize the process of physical change through shape shifting. Students are asked to show the metamorphosis of an inanimate object into a living thing, or vice versa, through a sequence of 9 drawings on a grid. Specific criteria include rendering the drawings on Bristol board with a grid and title. The drawings should demonstrate a transformation from one form in the top left square to a different form in the bottom right square through the 9 squares.
Assignment #5 quality of line
This document provides instructions for a two-part assignment exploring the emotional qualities of lines. For part A, students must draw four different lines within a grid on bristol board to represent specific emotions they have felt. The lines should be abstract and occupy most of each square, expressing emotions through line qualities alone rather than symbols. For part B, students must physically act out one of the lines from their drawing for the class in a single gesture. The assignment aims to convey emotion through abstract lines and physical gestures.
Assignment #4 point of view
This document provides the instructions for Assignment #4 titled "Point of View" for a Visual Imagination class. The assignment asks students to render a 9" x 10" Bristol board with a square border and a 3x3 grid within. Students must choose either to draw 9 cartoon-style line drawings from unique viewpoints, or photograph and trace 9 objects from non-typical angles, fitting each into a 2" x 2" grid square. The drawings should be done with extra fine point Sharpie after a pencil sketch and transfer. The goals are to find new perspectives on familiar subjects and meet the listed criteria accurately and neatly.
Assignment #3 pattern thinking
This document provides instructions for Assignment #3 on visual imagination. Students are asked to research a decorative design motif from a specific time period and culture, refine an existing motif to make it their own, and use the modified motif to create a repeating pattern within a 9x10 inch grid. The pattern must follow strict guidelines, including having the motif continuously rotate or mirror across all nine grid squares while touching adjoining motifs. Students will receive credit for meeting the criteria, drawing accurately, and being neat.
Assignment #2 assignment format
This document provides instructions for Assignment #2 for a visual imagination class. It explains that assignments will follow an assignment format to provide parameters. The goal of this assignment is to learn how to complete the assignment format, which involves rendering the project on 9x10 inch Bristol board with a square border drawn in Sharpie. It lists specific criteria like including the student's initial and last name on the right side in the specified lettering and spacing. Students are encouraged to ask for help but not have others complete the project for them.
Final project 2011
1. Students in a visual design class must create a poster for a new production of one of three plays as their final project.
2. They must use at least four design elements and all principles of composition to inspire their unique poster design.
3. In addition to the visual design, students must also present their poster concept and defend how it incorporates the required design elements and principles.
Assignment #1 prop-agenda
Students are instructed to bring a small, unusual object to class for an assignment. The object must be closed in their hand and not be dirty, liquid, sharp, toxic, or disgusting. Students must also write an 80-100 word paragraph identifying the object, how they acquired it, and commit the story to memory to defend if questioned.
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Fat elightingguide
The document provides guidance on the process of stage lighting design. It outlines the key steps a lighting designer would follow, including: 1) Analyzing the script to understand technical requirements and creative vision; 2) Consulting with the director and other designers to coordinate concepts; 3) Plotting lighting areas and special effects needed on a floor plan; 4) Determining the general lighting pattern and instrument placement based on the set layout and theater space. The goal is to create an environment that supports the action and communion between actors and audience through strategic use of light. Coordination with other designers and an understanding of theatrical principles are emphasized.
Linear non linear thought
Linear thinking is straightforward and follows a direct path to solve problems, while nonlinear thinking considers alternative approaches and hidden meanings. Fuzzy logic allows for ambiguity and dealing with true meanings that are not clearly stated. The document discusses how these different thought processes - linear, nonlinear, and fuzzy logic - are used in everyday life and thinking. The author thinks nonlinearly to plan solutions but linearly to implement them, and uses fuzzy logic to understand true meanings behind ambiguous statements.
Principles of visual perception
The document discusses principles of visual perception in humans and other animals. It notes that while humans rely heavily on vision, the way we perceive the world is an active process of interpretation rather than a passive recording. Different animals perceive the world in very different ways depending on factors like the structure of their eyes, visual acuity, and the portion of the brain devoted to vision. The document also discusses how humans organize visual information through unconscious categorization in order to simplify perception and make the world more meaningful and predictable.
Visual perception
This document discusses several factors that can influence visual perception, including:
1. Personality traits like tolerance for ambiguity and impulsivity vs reflectivity.
2. Socio-cultural influences like gender, occupation, education, and cultural background that shape how people interpret images.
3. Contextual factors like mood, expectations, and motivations that can cause the same event or image to be perceived differently by different individuals.
What is imagination 2
This document summarizes an episode of "The Infinite Mind" radio program about imagination. The episode features interviews with psychologists and experts on childhood development discussing topics like the origins and importance of imagination and pretend play in children. It also includes segments with guests from the fields of education, children's literature, and video game design discussing how imagination is fostered and applied in their respective domains.
What is imagination
This document discusses the role of imagination in problem solving, desires, and managing people. It defines imagination as the ability to form mental images of things not physically present and notes that imagination allows one to face difficulties resourcefully. The document emphasizes that every idea is born in the imagination and encourages tapping into one's imagination by visualizing solutions to contemplated changes with vivid mental images to fully spark the imagination.
Barriers to idea generation for collaborative problem solving
This document discusses barriers to creative idea generation during collaborative problem solving. It aims to identify barriers and develop a formula to determine individuals' Brain Dominance Profiles (BDP), which indicate their thinking preferences. The document reviews how BDP relates to different processing modes and can influence idea generation. It suggests that understanding BDP and using a whole-brain approach can help maximize creative potential and overcome barriers during collaboration.
Assignment #10 composition
This document provides instructions for a two-part visual arts assignment combining the elements of composition: balance, emphasis, and continuity.
Part A instructs students to create a composition using four vertically arranged cut-out photographic images glued to a cardboard base to demonstrate balance, emphasis, and continuity. The images are to include a background, mid-ground object, foreground object, and person.
Part B requires students to submit a one page typed rationale in bullet points explaining how their composition uses balance, emphasis, and continuity. The model and rationale are due on the date listed in the course syllabus.
Assignment #9 unity
This document provides instructions for a two-part assignment on unity in composition for a visual imagination class. Students are asked to create a collage (Part A) that demonstrates visual and intellectual unity through techniques like repetition, continuity, enclosure, harmony, and common themes. Specific criteria are outlined for the collage, including size, layout, number of cutouts used, and labeling. Students must also submit a rationale (Part B) explaining how their collage achieves visual and intellectual unity in under one page. The assignment is due according to the date in the class syllabus.
Assignment #8 texture
This document provides instructions for an assignment asking students to write a short story and create a corresponding texture plate to allow blind people to experience the story through touch. Students must write a narrative describing 10 notable events that can be supported by different textures adhered to cardboard. The textures should be arranged in a logical sequence to guide a blindfolded classmate's hand along the plate as they read the story aloud. An example story is provided that references textures like an ID card, door handle, bump on the forehead, fish scales, waterfall, bullfrog, drinking straw, slithery sensation, tentacles, and more.
Assignment #7 color harmonies
This 3 sentence summary provides the key details about the document:
The document outlines Assignment #7 which asks students to illustrate 6 different color harmonies - including monochromatic, analogous, complementary, split complementary, double complementary, triadic, and tetradic - using watercolors in a grid format on Bristol board. Specific instructions are given for rendering the project, including outlining a border, using a 2x3 grid, labeling the color harmonies used, and meeting criteria for accuracy, neatness, and properly applying the watercolors. Students are encouraged to get feedback but must complete the assignment themselves.
Assignment #6 shape shifting
The document describes an assignment to visualize the process of physical change through shape shifting. Students are asked to show the metamorphosis of an inanimate object into a living thing, or vice versa, through a sequence of 9 drawings on a grid. Specific criteria include rendering the drawings on Bristol board with a grid and title. The drawings should demonstrate a transformation from one form in the top left square to a different form in the bottom right square through the 9 squares.
Assignment #5 quality of line
This document provides instructions for a two-part assignment exploring the emotional qualities of lines. For part A, students must draw four different lines within a grid on bristol board to represent specific emotions they have felt. The lines should be abstract and occupy most of each square, expressing emotions through line qualities alone rather than symbols. For part B, students must physically act out one of the lines from their drawing for the class in a single gesture. The assignment aims to convey emotion through abstract lines and physical gestures.
Assignment #4 point of view
This document provides the instructions for Assignment #4 titled "Point of View" for a Visual Imagination class. The assignment asks students to render a 9" x 10" Bristol board with a square border and a 3x3 grid within. Students must choose either to draw 9 cartoon-style line drawings from unique viewpoints, or photograph and trace 9 objects from non-typical angles, fitting each into a 2" x 2" grid square. The drawings should be done with extra fine point Sharpie after a pencil sketch and transfer. The goals are to find new perspectives on familiar subjects and meet the listed criteria accurately and neatly.
Assignment #3 pattern thinking
This document provides instructions for Assignment #3 on visual imagination. Students are asked to research a decorative design motif from a specific time period and culture, refine an existing motif to make it their own, and use the modified motif to create a repeating pattern within a 9x10 inch grid. The pattern must follow strict guidelines, including having the motif continuously rotate or mirror across all nine grid squares while touching adjoining motifs. Students will receive credit for meeting the criteria, drawing accurately, and being neat.
Assignment #2 assignment format
This document provides instructions for Assignment #2 for a visual imagination class. It explains that assignments will follow an assignment format to provide parameters. The goal of this assignment is to learn how to complete the assignment format, which involves rendering the project on 9x10 inch Bristol board with a square border drawn in Sharpie. It lists specific criteria like including the student's initial and last name on the right side in the specified lettering and spacing. Students are encouraged to ask for help but not have others complete the project for them.
Final project 2011
1. Students in a visual design class must create a poster for a new production of one of three plays as their final project.
2. They must use at least four design elements and all principles of composition to inspire their unique poster design.
3. In addition to the visual design, students must also present their poster concept and defend how it incorporates the required design elements and principles.
Assignment #1 prop-agenda
Students are instructed to bring a small, unusual object to class for an assignment. The object must be closed in their hand and not be dirty, liquid, sharp, toxic, or disgusting. Students must also write an 80-100 word paragraph identifying the object, how they acquired it, and commit the story to memory to defend if questioned.
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