Piegare la tecnologia alla creatività. Superfici specchianti, gesti, forme e linguaggi non scontati. Le narrazioni della realtà aumentata, dal 31/05 al 2/06/2013.
Arte quantistica e realtà aumentata: verso orizzonti di ben-essere. CASCIANA TERME (Pisa).
Piegare la tecnologia alla creatività. Superfici specchianti, gesti, forme e ...Ministry of Education
Piegare la tecnologia alla creatività. Superfici specchianti, gesti, forme e linguaggi non scontati. Le narrazioni della realtà aumentata, dal 31/05 al 2/06/2013.
Arte quantistica e realtà aumentata: verso orizzonti di ben-essere. CASCIANA TERME (Pisa).
Le applicazioni della realtà aumentata nelle arti visive e nella poesiaMinistry of Education
Vivere il volontariato culturale a cura dell’International Association for Art and Psychology presieduto dalla psicoanalista Graziella Magherini, scopritrice della Sindrome di Stendhal. GROSSETO, 6.07.2013.
Emotional Mapping of Museum Augmented Places (EMMAP) has been developed during the PhD program in “e-Learning” at the Faculty of Engineering, Università Politecnica delle Marche, Ancona, Italy. EMMAP is devoted to promote mobile and ubiquitous learning environments in museums or in other places of historic-cultural interest.
This paper was published in the Informativo del Sistema Territorial del Museo de Ciencia y Técnica de Catalunia. 2008.
Spanish version in
http://www.mnactec.cat/docs/IS16web/IS16cast/intern.cast.htm
Piegare la tecnologia alla creatività. Superfici specchianti, gesti, forme e ...Ministry of Education
Piegare la tecnologia alla creatività. Superfici specchianti, gesti, forme e linguaggi non scontati. Le narrazioni della realtà aumentata, dal 31/05 al 2/06/2013.
Arte quantistica e realtà aumentata: verso orizzonti di ben-essere. CASCIANA TERME (Pisa).
Le applicazioni della realtà aumentata nelle arti visive e nella poesiaMinistry of Education
Vivere il volontariato culturale a cura dell’International Association for Art and Psychology presieduto dalla psicoanalista Graziella Magherini, scopritrice della Sindrome di Stendhal. GROSSETO, 6.07.2013.
Emotional Mapping of Museum Augmented Places (EMMAP) has been developed during the PhD program in “e-Learning” at the Faculty of Engineering, Università Politecnica delle Marche, Ancona, Italy. EMMAP is devoted to promote mobile and ubiquitous learning environments in museums or in other places of historic-cultural interest.
This paper was published in the Informativo del Sistema Territorial del Museo de Ciencia y Técnica de Catalunia. 2008.
Spanish version in
http://www.mnactec.cat/docs/IS16web/IS16cast/intern.cast.htm
Aumentare l'esperienza. Applicazioni mobile di realtà aumentata nello spazio ...Marco Carboni
Il lavoro mira ad esaminare la tecnologia definita come realtà aumentata (o AR dall'inglese augmented reality), analizzando, da una parte l'infrastruttura tecnica che la costituisce e dall'altra i diversi processi che ne hanno segnato la storia fino allo stato attuale. In particolare verrà centrata l'attenzione sui fattori che hanno portato lo sviluppo dell'AR in mobilità su diversi dispositivi, dei quali verranno spiegate alcune applicazioni fruibili nello spazio urbano.
Piccoli consigli per chi decide di intraprendere un percorso di comunicazione della propria attività. Per piccoli imprenditori, professionisti e freelance.
Scopo della presentazione è quello di dare, in maniera rapida e comprensibile anche ai non tecnici, utili indicazioni su come sfruttare la “realtà aumentata” su piattaforma mobile per far crescere il proprio business.
Scopo del presente white paper è quello di dare, in maniera rapida e comprensibile anche
ai non tecnici, utili indicazioni su come sfruttare la “realtà aumentata” su piattaforma
mobile per far crescere il proprio business.
Conoscere la realtà aumentata in un contesto innovativo economico e sociale...Ministry of Education
"Conoscere la realtà aumentata in un contesto innovativo economico e sociale nuovo"
Lecture di Giuliana Guazzaroni al convegno: "Future Horizon of Quantum Art and Augmented Reality" tenutosi a Firenze presso Palazzo Medici-Riccardi il 14 dicembre 2012
Co-designing Participatory Practices around a Design Museum ExhibitionMariana Salgado
This paper was published in the Proceedings of the 6th International Conference of Design History and Design Studie. Another name for Design. Words of Creation. In Osaka, Japan, 2008.
This presentation by Susana Bautista, Adjunct Faculty, Annenberg School of Communication and Journalism, University of Southern California - explores the notion of museums and placemaking, and how digital technologies are enabling museums to mark their places in new and innovative ways. When museums think about technology today, they must also think about place. A few questions to ask are: What are the new places that museums are occupying in the digital age? How do museums act with their visitors in these new places? How do these “new” places connect with the “old” places? What new places are museum visitors occupying, and what are they doing there? How do museums “make” place, and is there a hub? Placemaking has existed from Stonehenge to the Acropolis, and to monumental buildings centrally placed within a community such as The Metropolitan Museum of Art, the Art Institute of Chicago, and the Getty Center; and museums historically have had branches or satellites, programs within the community, and community partners. What is new is how technology allows us to better understand the networked museum experience, to engage its global community of visitors and users, and to connect physical and online places, mobile and fixed experiences.
Some critics may have you believe that computer game studies lack theoretical rigor, that games cannot afford meaningful experiences. I agree with them, sometimes, but I also believe that a richer understanding of computer games is possible, and that this understanding can shed some light on related issues in the wider field of Digital Humanities.
My main area of research has been designing and evaluating how contextually appropriate interaction can aid the understanding of cultures distant in time, space, and in understanding to our own. This field is sometimes called Virtual Heritage. In Virtual Heritage, tools of choice are typically virtual reality environments, and the projects are very large in scale, complexity, and cost, while my projects are often prototypes and experimental designs. I have many challenges, for example, morphing technological constraints into cultural affordances, and avoiding possible confusion between artistic artifice and historical accuracy, all the while evaluating intangible concepts in a systematic way without disturbing the participants’ sense of immersion. To help me judge the success or failure of these projects I have shaped some working definitions of games, culture, cultural understanding, cultural inhabitation, and place. However, these concepts and definitions are not enough. I also have to now tackle the issues of simulated violence, artificial “other” people, the temptation of entertainment masquerading as education, and the difficulties inherent in virtually evoking a sense of ritual.
My lecture, then, is a discussion into how game-based learning, and the study of culture, heritage and history, might meaningfully intersect.
Syncretic technologies. The learning potential of cross-cultural, non-textual...Luca Simeone
This paper focuses on Ranjit Makkuni's work and especially on his latest exhibit in Delhi (Planet Health Museum) that explores the traditions of Ayurveda and Yoga and uses cutting edge non-textual interaction technologies. By examining Makkuni's work, this paper investigates the potential of interactive art based on non-textual interaction and synchretic technologies as dialogic, learning devices.
Aumentare l'esperienza. Applicazioni mobile di realtà aumentata nello spazio ...Marco Carboni
Il lavoro mira ad esaminare la tecnologia definita come realtà aumentata (o AR dall'inglese augmented reality), analizzando, da una parte l'infrastruttura tecnica che la costituisce e dall'altra i diversi processi che ne hanno segnato la storia fino allo stato attuale. In particolare verrà centrata l'attenzione sui fattori che hanno portato lo sviluppo dell'AR in mobilità su diversi dispositivi, dei quali verranno spiegate alcune applicazioni fruibili nello spazio urbano.
Piccoli consigli per chi decide di intraprendere un percorso di comunicazione della propria attività. Per piccoli imprenditori, professionisti e freelance.
Scopo della presentazione è quello di dare, in maniera rapida e comprensibile anche ai non tecnici, utili indicazioni su come sfruttare la “realtà aumentata” su piattaforma mobile per far crescere il proprio business.
Scopo del presente white paper è quello di dare, in maniera rapida e comprensibile anche
ai non tecnici, utili indicazioni su come sfruttare la “realtà aumentata” su piattaforma
mobile per far crescere il proprio business.
Conoscere la realtà aumentata in un contesto innovativo economico e sociale...Ministry of Education
"Conoscere la realtà aumentata in un contesto innovativo economico e sociale nuovo"
Lecture di Giuliana Guazzaroni al convegno: "Future Horizon of Quantum Art and Augmented Reality" tenutosi a Firenze presso Palazzo Medici-Riccardi il 14 dicembre 2012
Co-designing Participatory Practices around a Design Museum ExhibitionMariana Salgado
This paper was published in the Proceedings of the 6th International Conference of Design History and Design Studie. Another name for Design. Words of Creation. In Osaka, Japan, 2008.
This presentation by Susana Bautista, Adjunct Faculty, Annenberg School of Communication and Journalism, University of Southern California - explores the notion of museums and placemaking, and how digital technologies are enabling museums to mark their places in new and innovative ways. When museums think about technology today, they must also think about place. A few questions to ask are: What are the new places that museums are occupying in the digital age? How do museums act with their visitors in these new places? How do these “new” places connect with the “old” places? What new places are museum visitors occupying, and what are they doing there? How do museums “make” place, and is there a hub? Placemaking has existed from Stonehenge to the Acropolis, and to monumental buildings centrally placed within a community such as The Metropolitan Museum of Art, the Art Institute of Chicago, and the Getty Center; and museums historically have had branches or satellites, programs within the community, and community partners. What is new is how technology allows us to better understand the networked museum experience, to engage its global community of visitors and users, and to connect physical and online places, mobile and fixed experiences.
Some critics may have you believe that computer game studies lack theoretical rigor, that games cannot afford meaningful experiences. I agree with them, sometimes, but I also believe that a richer understanding of computer games is possible, and that this understanding can shed some light on related issues in the wider field of Digital Humanities.
My main area of research has been designing and evaluating how contextually appropriate interaction can aid the understanding of cultures distant in time, space, and in understanding to our own. This field is sometimes called Virtual Heritage. In Virtual Heritage, tools of choice are typically virtual reality environments, and the projects are very large in scale, complexity, and cost, while my projects are often prototypes and experimental designs. I have many challenges, for example, morphing technological constraints into cultural affordances, and avoiding possible confusion between artistic artifice and historical accuracy, all the while evaluating intangible concepts in a systematic way without disturbing the participants’ sense of immersion. To help me judge the success or failure of these projects I have shaped some working definitions of games, culture, cultural understanding, cultural inhabitation, and place. However, these concepts and definitions are not enough. I also have to now tackle the issues of simulated violence, artificial “other” people, the temptation of entertainment masquerading as education, and the difficulties inherent in virtually evoking a sense of ritual.
My lecture, then, is a discussion into how game-based learning, and the study of culture, heritage and history, might meaningfully intersect.
Syncretic technologies. The learning potential of cross-cultural, non-textual...Luca Simeone
This paper focuses on Ranjit Makkuni's work and especially on his latest exhibit in Delhi (Planet Health Museum) that explores the traditions of Ayurveda and Yoga and uses cutting edge non-textual interaction technologies. By examining Makkuni's work, this paper investigates the potential of interactive art based on non-textual interaction and synchretic technologies as dialogic, learning devices.
The Recurated Museum: V. Collections Communication & StorytellingChristopher Morse
Slides from the fifth session of the course "The Recurated Museum" by Sytze Van Herck & Christopher Morse at the University of Luxembourg (Summer Semester, 2020).
Course slides typically begin with a brief summary of the online discussions that occurred before the session.
Boston Civic Media Projects from Consortium AffiliatesBecky Michelson
These are some of the projects created by faculty from the Boston Civic Media Consortium and Network. The mission of the Boston CMC+N is to build relationships, share knowledge and develop innovative curriculum in civic media. This is a faculty-led initiative that links ten higher education institutions and numerous community partner organizations across the Greater Boston region. This initiative is organized by the Emerson Engagement Lab and funded by the Teagle Foundation.
The broader Boston Civic Media Network includes practitioners, students, nonprofits and government leaders. We want to work towards building a strong, collaborative network of engaged research and teaching across the Boston area.
The role of similarity in the re-unification, re-assembly and re-association ...Gravitate Project
Special Session Proposal
Thematic area: The workshop fits primarily in the Analysis and Interpretation area and also in the Digital Heritage Projects and Applications.
Polytech.Science.Art program launched with the start of the creative workshops project in 2014. It also contributed a video program to the Polytechnic Museum’s International Contemporary Science Film Festival 360° and organized a series of public talks by the prominent artists and art critics.
The program culminated with the year-end Polytech.Science.Art Week featuring lectures, workshops, panel discussions and the exhibition celebrating the results of the workshop program’s first year.
Similar to Le narrazioni della realtà aumentata all'Aquila (20)
Il ruolo delle emozioni nell’arte e nei musei interattivi; Esperienze di appr...Ministry of Education
L’utilizzo della Extended Reality permette la creazione di punti di contatto fra oggetti, idee e persone, nonché l’attivazione di strategie didattiche e interpretative molteplici. La ricerca sul cervello ha evidenziato il ruolo delle emozioni nella fruizione dell’arte e dei musei. Le emozioni che possiamo provare di fronte a un’opera d’arte sono molteplici e simili, ma non uguali, a quelle sperimentate nel quotidiano. I neuroni specchio permettono alle persone di interpretare la mente degli altri, non attraverso il pensiero logico, ma attraverso la simulazione diretta, sentendo e non pensando. Grazie ai neuroni specchio possiamo esperire uno stato particolare definito: esperienza estetica. La possibilità di offrire ai visitatori piani diversi di realtà, attraverso le opere d’arte arricchite da elementi di Extended Reality, secondo le sperimentazioni, accresce la possibilità di vivere esperienze emotivamente più coinvolgenti.
Il ruolo delle emozioni nell’arte e nei musei. Apprendere e comprendere con l...Ministry of Education
I Dipartimenti di Ingegneria dell’Informazione e di Ingegneria Civile, Edile e Architettura (Università Politecnica delle Marche, Ancona) organizzano per il giorno 28 maggio 2019, dalle 14.30 alle 16.30, un seminario su Realtà virtuale e aumentata per l’arte. Relatrici Paola Puggioni e Giuliana Guazzaroni.
La professoressa Puggioni illustrerà l’efficacia formativa di SMARTMARCA un app che favorisce la fruizione in Realtà aumentata e virtuale di opere d’arte marchigiane. La dottoressa Giuliana Guazzaroni parlerà del ruolo delle emozioni nell’arte e nei musei.
La possibilità di offrire ai visitatori piani diversi di realtà, attraverso le opere d’arte arricchite da elementi di realtà virtuale immersiva e di realtà aumentata accentua, secondo le sperimentazioni, la possibilità di vivere esperienze emotivamente più coinvolgenti.
Il 6 maggio ho partecipato a Bene Vagienna a una Tavola Rotonda con un intervento su “Il ruolo delle emozioni” nei musei interattivi.
Perché Bene Vagienna? Perché dal 2000 è un laboratorio di applicazione diretta delle discipline del Virtual Heritage applicato all’archeologia ed in particolare al sito di Augusta Bagiennorum ed al MAB -Museo Archeologico di Bene Vagienna.
Droni, ricostruzioni 3D, virtual reality sono già state oggeto di test e valutazione sulle “buone usabilità” e la riproduzione in VR dell’antica città è già stata esposta in giro per il mondo. Questa Spring School, difatti, si configura come estensione dell’Autumn School di fine 2015, utilizzando i modelli 3D dei reperti allora riprodotti tramite laser scanner e fotogramemtria per proporre oggi esempi di musealizzazione virtuale navigabili dal web alla realtà virtuale immersiva. Virtual, Augmented, Mixed reality, Web 3D, PDF 3D, Oculus Rif, Kinect, Leap Motion sono le tecnologie affrontate nei giorni successivi durante i 4 workshop “verticali” della Spring School in cui docenti e professionisti condurranno gli allievi provenienti da tutto lo stivale verso una comprensione dei modi corretti (e scorretti) d’utilizzo.
Tutte le info sulla Spring School qui: http://www.mimos.it/SpringSchool2019
Realtà virtuale, realtà aumentata e stampa 3D sono solo alcune delle nuove tecnologie che possono facilitare i progettisti del verde nelle fasi di progettazione, realizzazione e comunicazione delle loro creazioni. Si tratta di strumenti che diventeranno fondamentali nel lavoro di paesaggisti, architetti, designer, urbanisti e operatori del turismo. In questo seminario mostriamo l’utilizzo pratico di queste innovazioni, presentando case history che ne confermano l’efficacia stimolando la fase creativa, riducendo i costi e i tempi di realizzazione e migliorando i processi di comunicazione. Come si può innovare l’architettura del paesaggio?
A discuterne con Giovanni Dalla Bona, di Imparafacile, ci sono: Maria Cristina Rodeschini, direttrice dell’Accademia di Belle Arti Carrara Bergamo, Alberto Attanasio, electronic bioengineer, Giuliana Guazzaroni, Augmented & Virtual Reality Developer e altri relatori... L'incontro si è svolto sabato 9 settembre dalle ore 16:00 alle ore 19:00 – Sala Conferenze di Casa Suardi – Piazza Vecchia, Bergamo nell'ambito della manifestazione: "I maestri del paesaggio".
Realtà aumentata e realtà virtuale: innovazione, coinvolgimento e utilità per...Ministry of Education
Grazie agli sviluppi tecnologici, la realtà virtuale e la realtà aumentata avranno in breve un impatto enorme su ogni azienda. Il workshop presenta i numerosi campi di applicazione della realtà aumentata e virtuale, con esempi di pratiche in ambiti diversi (acquisti online, settore immobiliare, agenzie viaggio-hotel, medicina, riparazioni, giardinaggio, pubblicità, food & beverage ecc.). Gli incontri, promossi dal Comitato per la Promozione dell’Imprenditorialità Femminile, sono realizzati da Bergamo Sviluppo in collaborazione con il sistema associativo locale. I seminari si terranno nelle Sale del POINT di Dalmine in orario 15-18, sono rivolti, oltre che a imprenditori e aspiranti imprenditori, a tutti gli interessati. La partecipazione è GRATUITA, previa iscrizione online (posti disponibili: 40-60).
L'intervento di Giuliana Guazzaroni al convegno Creatività e
matematica, Realtà aumentata e apprendimento [Sala Convegni Abbazia di Chiaravalle di Fiastra – Sabato 31 ottobre 2015, ore 15.00]
Da: Strumenti per la didattica della matematica, Ricerche, esperienze, buone pratiche, a cura di Luciana Salvucci, Franco Angeli, 2015
Guazzaroni, G. (2015, September). Realtà aumentata un’opportunità di apprendimento. In L. Salvucci (Ed.) Strumenti per la Didattica della Matematica. Ricerche, esperienze, buone pratiche. Milano, IT: Franco Angeli.
Guazzaroni, G., Aguzzi, E., Lautizi, C. & Settembri, A. (2015, September). Convinzioni ingenue sull’infinito e realtà aumentata nella scuola dell’infanzia. In L. Salvucci (Ed.) Strumenti per la Didattica della Matematica. Ricerche, esperienze, buone pratiche. Milano, IT: Franco Angeli.
Gioco, performance e manipolazioni. La realtà aumentata nelle artiMinistry of Education
Gioco, performance e manipolazioni. La realtà aumentata nelle arti, 9/11/2013.
Arte quantistica, scienza e realtà aumentata: sinergie d’innovazione. PIETRASANTA (Lucca).
Il capo dello Stato Giorgio Napolitano ha donato al gruppo “quARte” la Medaglia del Presidente della Repubblica, quale premio di rappresentanza all’evento “Arte quantistica, scienza e realtà aumentata: sinergie d’innovazione” del 9 novembre 2013 a Pietrasanta (Lucca).
La città si racconta: Realtà aumentata, oggetti comunicativi nuovi e amplific...Ministry of Education
La città si racconta: Realtà aumentata, oggetti comunicativi nuovi e amplificazioni esperienziali a sostegno della smart city, 21-22/03/2014.
La realtà aumentata: dispositivi e tecniche per aumentare l’accoglienza dei luoghi. WELCOMING CITIES / Be Wizard! Palacongressi RIMINI.
Nell’ambito di Be Wizard! Welcoming cities ha proposto un approfondimento formativo su due tematiche inerenti l’accoglienza delle città: vivere la notte e dispositivi e tecniche per la realtà aumentata.
Un esempio di storytelling: La realtà aumentata a scuola, 18/02/2014.
Didattica digitale: quale futuro? Seminario formativo organizzato dall’Istituto Comprensivo di Colmurano e dall’Istituto di Istruzione Superiore “Alberico Gentili” SARNANO (Macerata).
Realtà aumentata, arte e poesia lungo le vie aquilane, 31/01/2014.
Atemporalità e assenza di radicamento ad un luogo. UNIVERSITÀ DEGLI STUDI DI PAVIA (Pavia).
Il simposio, presentato per il IV Congresso Nazionale CKBG (Collaborative Knowledge Building Group) “Tecnologia e leggerezza” e coordinato da Massimo Giuliani (Centro Milanese di Terapia della Famiglia), ha visto alternarsi i seguenti interventi (nell’ordine):
Giulio Mozzi: “Di alcune cose che si possono fare per percepire i luoghi, e del modo in cui l’uso astuto del web può permettere di conservare, condividere, connettere, organizzare, strutturare tali percezioni”;
Giuliana Guazzaroni: “Realtà aumentata, arte e poesia lungo le vie aquilane”;
Luisa Nardecchia e Massimo Giuliani: “Sotto il tetto di una storia. La parola e il legame coi luoghi”.
La valeur ajoutéee de l’enseignement à distance, 20/09/2013.
Conférence finale de restitution. Childhood Links. Mairie du XVIIIème arrondissement. 1, place Jules Joffrin. PARIS. FRANCE.
Arte Quantistica & Realtà Aumentata: verso orizzonti di ben-essereMinistry of Education
Quantum Art & Augmented reality: towards horizons of well-being - Arte Quantistica & Realtà Aumentata: verso orizzonti di ben-essere si terrà a Casciana Terme (Pisa) dal 31 maggio al 2 giugno 2013
La realtà aumentata come strumento di interpretazione artisticaMinistry of Education
La realtà aumentata come strumento di interpretazione artistica, workshop del 5/10/2012 presso:
Musei Impresa - FRONTIERE DIGITALI Strategie e opportunità per musei e archivi d'impresa, Verona.
Contenuti:
Introduzione alla realtà aumentata (RA); Principali strumenti per la RA; Campi di applicazione; Usi culturali della RA in ambito museale e archivistico; Casi di studio; Orizzonti futuri.
FUTURE HORIZON OF QUANTUM ART
AND AUGMENTED REALITY
Firenze, December 14th, 2012
Venue c/o sala Pistelli - Province of Florence
via Cavour 1, Firenze - www.palazzo-medici.it
ARt di smART, strategie di Mobile Marketing nell'era quantisticaMinistry of Education
Il numero sempre crescente di strumenti di tipo mobile offre agli utenti un'interazione immediata, in grado di avviare processi complessi derivanti da situazioni reali.
Il workshop "ART di smART" ha lo scopo di raccontare alcune esperienze di «mixed reality», applicate alla promozione e allo sviluppo di eventi e luoghi legati all'arte e alla cultura.
"ART di smART" raccoglie una serie di esperienze positive di marketing territoriale, realizzate attraverso la realtà aumentata e gli smart objects. Si parlerà di realtà aumentata e delle sue differenti applicazioni, finalizzate al rilancio culturale locale: esperienze in grado di offrire un richiamo più vasto e un legame proattivo con luoghi ed eventi.
In particolare, sarà presa in esame la possibilità di agire nel promuovere lo sviluppo di una nuova economia. Il binomio arte e tecnologia può essere applicato a forme di AR-marketing territoriale per la crescita dell'innovazione di impresa e per l’espansione internazionale di sistemi di eco-economia nel mercato globale.
Dispositivi mobili di ultima generazione permettono pratiche di internet in mobilità che possono facilitare lo sviluppo di ambienti informali di apprendimento. Il confine fra gioco, simulazione,
apprendimento, consolidamento di saperi diviene di conseguenza più sfumato. Mobile learning potrebbe essere considerato tutto quanto accade quando chi impara non è in un luogo deputato allo studio, ma trae vantaggio dalle situazioni di mobilità per accrescere le proprie competenze e conoscenze.
Perché dunque non trarre il massimo vantaggio anche nel settore dell'apprendimento dall'utilizzo massiccio che viene fatto di dispositivi mobili?
Perché non facilitare l'utilizzo di questi dispositivi anche negli apprendimenti formali?
Ambienti formali e informali di studio potrebbero, se predisposti bene, essere attivati in maniera efficace offrendo l'opportunità di accrescere la consapevolezza delle potenzialità culturali inerenti i dispositivi stessi come strumenti didattici a portata di mano.
In questo intervento si parlerà di quali possono essere i contesti di applicazione del Mobile Learning e di come questi possano (o meno) attivare una dimensione dell'apprendimento tagliata su misura sulle esigenze del singolo utente.
Builder.ai Founder Sachin Dev Duggal's Strategic Approach to Create an Innova...Ramesh Iyer
In today's fast-changing business world, Companies that adapt and embrace new ideas often need help to keep up with the competition. However, fostering a culture of innovation takes much work. It takes vision, leadership and willingness to take risks in the right proportion. Sachin Dev Duggal, co-founder of Builder.ai, has perfected the art of this balance, creating a company culture where creativity and growth are nurtured at each stage.
The Art of the Pitch: WordPress Relationships and SalesLaura Byrne
Clients don’t know what they don’t know. What web solutions are right for them? How does WordPress come into the picture? How do you make sure you understand scope and timeline? What do you do if sometime changes?
All these questions and more will be explored as we talk about matching clients’ needs with what your agency offers without pulling teeth or pulling your hair out. Practical tips, and strategies for successful relationship building that leads to closing the deal.
Epistemic Interaction - tuning interfaces to provide information for AI supportAlan Dix
Paper presented at SYNERGY workshop at AVI 2024, Genoa, Italy. 3rd June 2024
https://alandix.com/academic/papers/synergy2024-epistemic/
As machine learning integrates deeper into human-computer interactions, the concept of epistemic interaction emerges, aiming to refine these interactions to enhance system adaptability. This approach encourages minor, intentional adjustments in user behaviour to enrich the data available for system learning. This paper introduces epistemic interaction within the context of human-system communication, illustrating how deliberate interaction design can improve system understanding and adaptation. Through concrete examples, we demonstrate the potential of epistemic interaction to significantly advance human-computer interaction by leveraging intuitive human communication strategies to inform system design and functionality, offering a novel pathway for enriching user-system engagements.
LF Energy Webinar: Electrical Grid Modelling and Simulation Through PowSyBl -...DanBrown980551
Do you want to learn how to model and simulate an electrical network from scratch in under an hour?
Then welcome to this PowSyBl workshop, hosted by Rte, the French Transmission System Operator (TSO)!
During the webinar, you will discover the PowSyBl ecosystem as well as handle and study an electrical network through an interactive Python notebook.
PowSyBl is an open source project hosted by LF Energy, which offers a comprehensive set of features for electrical grid modelling and simulation. Among other advanced features, PowSyBl provides:
- A fully editable and extendable library for grid component modelling;
- Visualization tools to display your network;
- Grid simulation tools, such as power flows, security analyses (with or without remedial actions) and sensitivity analyses;
The framework is mostly written in Java, with a Python binding so that Python developers can access PowSyBl functionalities as well.
What you will learn during the webinar:
- For beginners: discover PowSyBl's functionalities through a quick general presentation and the notebook, without needing any expert coding skills;
- For advanced developers: master the skills to efficiently apply PowSyBl functionalities to your real-world scenarios.
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Le narrazioni della realtà aumentata all'Aquila
1. Superfici specchianti, gesti, forme e linguaggi non scontati
Le narrazioni della realtà aumentata
di Giuliana Guazzaroni
*
Casciana Terme (Pisa) - 1 giugno 2013 - Arte quantistica e realtà aumentata
3. *
*Mobile devices and augmented
reality may represent access points
to navigate the city, to observe
different layers of reality, to redraw
the urban geography and to explore
the real environment..
4. *
*An emotional journey to observe
familiar places from different
perspectives and angles: a
continuous sliding between two
worlds (real and virtual), an
invitation to participation, reflection
and rediscovery of public spaces..
5. *
*Urban paths to engage citizens,
students and visitors with local
heritage, memories and art
(Guazzaroni, 2013)
6. *E M
M A
P EMMAP
*The main objective of EMMAP was
encouraging an active learning
environment through the use of
mobile and ubiquitous technologies
(Guazzaroni & Leo, 2011)
7. *
*On September 2011, sixty digital paintings
were disposed all around the wall of
Macerata
*On September 2012, the experience in
Macerata was enlarged with new digital
paintings displayed in Borgo Ficana
*On June 2012, a similar experience was
brought to L’Aquila
8. *
*Artists from L’Aquila said that after the
earthquake their town centre needs life, vital
projects, art and poetry. Consequently a
Call for artists was opened to gather digital
artworks to be used to build an augmented
reality exhibit all around the “red zone”. The
main aims were to collect and enrich memories
of a destroyed city centre and to add artists’
works in a virtual form in order to create
invisible emotional routes (Guazzaroni, 2013)
9. *
*L’Aquila Municipality, Adam Accademia
Delle Arti Macerata, Licenze Poetiche,
L’Aquila eMotion and Noi L’Aquila
patronized the exhibit
*The opening to public was a success and
the invisible emotional paths produced a
vibrant reaction on visitors
10. *
*On September 22nd 2012, 100 eTwinning
ambassadors participated in a walking
workshop and interact with augmented
reality
*Streets exhibits have been evaluated
through questionnaires, interviews and
direct observation to reveal: social
benefits, positive interaction, creative
thinking, emotional benefits and
territorial feedback
11.
12.
13.
14. *
*EMMAP experiences are divided into
seven phases, based on the 7E
learning cycle. Consequently, each
time a group performs “Street
Poetry” a sort of ritual and rhythm is
activated across the streets
15. *
*Elicit: The facilitator/designer/artist prepares
useful technologies and material
*Engage: The facilitator/designer/artist explains the
experience
*Explore: Visitors start detecting artworks
*Explain: Groups start an active interaction with real
objects and points of interest
*Elaborate: Each group content to be left in the
location
*Extend: Participants collect additional content
*Evaluate: The facilitator/designer/artist evaluate
the performance (Eisenkraft, 2003; Guazzaroni & Leo, 2011;
Guazzaroni 2012a; Guazzaroni, 2012b; Guazzaroni, 2013a)
16. *
*A collective urban ritual, with its own
rhythm. The rhythm of poetry and
storytelling that can be repeated each
time visitors decide to walk those paths,
each time people participate and rise arms
holding smartphones or tablets. It is an act
of pure performance
17. *
*The “performative absolute” appears
during difficult situations. It is a sign of
danger. It is a “cultural apocalypse”
*During these events humans invent
strategies or react using monologues to
establish more predictable outputs
during communication (Virno, 2003)
18. *
*The “performative absolute” is the
common condition that generally transpires
when walking across scattered streets in
L’Aquila
*Words could not be uttered to express the
experience of visiting a territory where
every thing is destroyed (human bonds,
housing, instruction) (Guazzaroni, 2013)
19.
20.
21.
22.
23. *
*Mirron neurons unveil how people
learn and why group of people
respond to certain dance, rhythm
and pieces of art (Rizzolatti & Fabbri-
Destro, 2008)
*When participants are in the
streets, when they enjoy interactive
performance, they naturally react to
specific stimuli and to other people
movements (Guazzaroni, 2012)
24. *
*The denied right to housing characterizes the
“red zone”, as citizens that lived there were
obliged to leave their homes. The inhabitants
have had temporary or new prefabricated
homes, where former links with their oikos,
their neighborhood have been broken. To foster
this emergence, an artist created a digital
painting representing a gate with superimposed
a chained breast (Guazzaroni, 2013b)
26. *
*A sort of “cultural apocalypse” (Virno, 2003)
was reached and the actual rhythm of
storytelling monologues could be listened
*Memories are monologues, words uttered
by citizens or visitors impressed by the
absence of everything (Guazzaroni, 2013)
27. *
*The augmented reality routes represent
the effort to create significant interaction
*Performance art is created for the
others, to enhance participants’ active
participation and awareness of the needs
of a territory and their citizens
28. *
*During “Street poetry” performances
participants repeat apparently insignificant
gestures, the ritual of using augmented
reality to detect emotional paths and to
leave stories for future visitors
*These gestures may reconstruct bonds and
social links
*They may narrate different stories through
different overlay of reality, they may
represent a message to the future, or a
vital storify of daily life using wearable
smart interfaces (Guazzaroni, 2013)
29. *
*Social benefits: most of the participants felt that working in groups had
improved their attitude to listening to their peers (87%); moreover, most of them
said that everybody in the group had contributed to the construction of
knowledge (77%); lastly, they improved the awareness and respect for their peers
(90%).
*Creative thinking benefits: Most of the participants said that they improved
their creative thinking during the experience (93%); the interaction with digital
artworks stimulated their creative mind (96,7%); moreover, they all agreed that
the possibility to tell a story, and to leave it in the streets for future visitors,
inspired creative thinking (96%).
*Techno-didactic benefits: All the ambassadors said that the use of technologies
reinforced social participation and fostered group work; moreover, they affirmed
that technology promoted a dialogue with future visitors (100%), and it improved
the interest in artworks (93%).
*Emotional benefits: Most of the participants said that the augmented reality
routes fostered the creation of an emotional bond with the location (97%);
moreover, they believed that routes activated an “emotional dimension” with
objects and people related to the past, present and future of L’Aquila (97%); they
said that a “sentimental dimension” was fostered by a storytelling activity (95%).
30. *
* Guazzaroni, G. & Compagno, M. (2013, December). AR Moulded-Objects Performing Giuseppe Verdi’s 200th Birthday. In Archeomatica (4), 38-
41.
* Guazzaroni, G. & Compagno, M. (2013, November). Narrazioni performative ed esperienziali a sostegno dell’arte e smart city. In Juliet Cloud
Magazine (JCM) Art&Tech.
* Guazzaroni, G. (2013, October). Street Poetry in Augmented Reality. In S. Leone (Ed.). Synergic Integration of Formal and Informal E-Learning
Environments for Adult Lifelong Learners, IGI Global, USA.
* Guazzaroni, G. (2013, October). The Ritual and the Rhythm: Interacting with Augmented Reality, Visual Poetry and Storytelling across the
Streets of Scattered L’Aquila. In eLearning Papers on Design for Learning Spaces and Innovative Classrooms (34).
* Guazzaroni, G. (2013, May). Piegare la tecnologia alla creatività. Superfici specchianti, gesti, forme e linguaggi non scontati. La narrazione
dell’Aquila in realtà aumentata. In G. Griziotti (Ed.) Bioipermedia Moltitudini Connesse. Alfabeta2 (29), 4.
* Guazzaroni, G. (2013, March). Emotional Mapping of the Archaeologist Game. In M. Lytras, P. Ordoñez De Pablos & F. J. García-Peñalvo
(Eds.) Advanced Human-Computer Interaction. Computers in Human Behavior Elsevier, 29 (2), 335-344.
* Guazzaroni, G. (2012). Experiential Mapping of Museum Augmented Places – Using Mobile Devices for Learning. Saarbrücken, D: LAP.
* Guazzaroni, G. (2012). Emotional Mapping of Museum Augmented Places (EMMAP). In M. Pieri (Ed.) Mobile Learning. Esperienze e Riflessioni
“Made in Italy”. Bari, IT: Progedit.
* Guazzaroni, G. (2012, December). Emotional Mapping of Museum Augmented Places. In Archeomatica (3), 44-46.
* Guazzaroni, G. & Leo, T. (2011). Emotional Mapping of a Place of Interest Using Mobile Devices for Learning. In I. Arnedillo Sánchez & P. Isaías
(Eds.) Proceedings of IADIS International Conference on Mobile Learning (pp. 277-281) Avila, E.
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