RCAAP Repository

This paper aims to explore the relationship between gender and artificial intelligence, seeking to understand how and why chatbots and digital assistants appear to be mostly female. To this end, it begins by addressing artificial intelligence and the questions that emerge with its evolution and integration in our daily lives. It then approaches the concept of gender in light of a binary framework, focusing on femininity. These topics are then related, in order to shed some light on how chatbots and digital assistants tend to display feminine attributes. In an attempt to observe these aspects, an analysis of Alexa, Cortana and Siri is developed, focusing on their anthropomorphization, the tasks they perform and their interactions. Complementing this discussion, the project Conversations with ELIZA is presented as an exploration of femininity in AI, through the development of four chatbots integrated into a web-based platform, each performing specific tasks and simulating particular personalities, with the purpose of emphasizing feminine roles and stereotypes. In this manner, this study aims to understand and explore how gender relates to AI, why femininity seems to be often present in AI and which gender roles or stereotypes are reinforced in this process.

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This article discusses the role of Design Research in the field of Human-Robot Interaction (HRI). Notably, the Research through Design (RtD) approach is proposed as a valuable method to develop HRI research artefacts due to the importance of having a physical artefact, a robot, that enables direct interaction. Moreover, there is a growing interest in HRI for design methodologies as methods for investigation. The article presents an example of a design process, focused on hands-on activities, namely sketching, 3D modelling, prototyping, and documenting. These making practices were applied to the development of Shybo, a small sound-reactive robot for children. Particular attention has been given to the five prototypes that led to the definition of the current solution. Morphological, behavioral, and interaction aspects were investigated throughout the whole process. Each phase of the design process was then documented with the intent of sharing potentially replicable practices and contributing to the understanding of the role that RtD can play in HRI.

This work presents a method for drawing Virtual Reality panoramas by ruler and compass operations. VR panoramas are immersive anamorphoses rendered from equirectangular spherical perspective data. This data is usually photographic, but some artists are creating handdrawn equirectangular perspectives to be visualized in VR. This practice, that lies interestingly at the interface between analog and digital drawing, is hindered by a lack of method, as these drawings are usually done by trial-and-error, with ad-hoc measurements and interpolation of pre-computed grids, a process with considerable artistic limitations. I develop here the analytic tools for plotting all great circles, line images and their vanishing points, and then show how to achieve these constructions through descriptive geometry diagrams that can be executed using only ruler, compass, and protractor. Approximations of line images by circular arcs and sinusoids are shown to have acceptable errors for low values of angular elevation. The symmetries of the perspective are studied and their uses for improving gridding methods are discussed.

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In this article, we intend to talk about the representation of black people in Brazilian cinema, pointing out how hegemonic images of Brazilian cinema corroborate the structural racism of our society, analyzing films (and other visual narratives) from the 2000s, a period considered the "Resumption of Brazilian Cinema". Cinema produced by black directors emerges as counter-narratives, deepening the way in which Brazilian cinema represents the racial issue in Brazil in a stereotyped way. To think about this structural racism in the field of cinema we will deepen the concept of racial anthropophagy (Amparo, 2018; Paixão, 2015) a kind of aesthetic of the flesh, in which the image of the "other" (the black or black) is appropriate and devoured in the name of art. We will also seek to dialogue with black feminism in Brazil, emphasizing the specificity of this field and discussing image production around black women in Brazil.

This paper explores how both sound and image of a documentary under production footage can serve as a narrative tool for a sound-oriented video art piece (‘Folkofolk’), and at the same time communicate the ideas of the final documentary itself. It discusses possible uses of existing footage derived from an ethnographic documentary in production, which maps and records the existence of German-speaking folk dancing groups. The information of the gathered original footage seeks to understand how the notion of place is interpreted through the folk dancing soundscape as a whole, and wishes to highlight the everyday sound's social character. The footage of ‘Folkofolk’ features recordings of assorted German-speaking folk dancing groups in Berlin and Vienna. Based on the social properties of place, ‘Folkofolk’ seeks to explore, in a wider level, an alternative narrative of how folk dancing soundscapes potentially create a sense of place and community through creative film editing practices that are close to video art.

In the past decades, the field of cinema has undergone several transformations. The digital turn increasingly called for new forms of production, distribution, and exhibition, which imply different ways of thinking, doing, and experimenting cinema. These new forms also reduced the gap between cinema to other so-called visual arts. If cinema and visual arts were already in the process of merging, the last years forced the naturalization of thinking in similar theoretical grounds. This special issue aims to be a forum for the discussion of new practices of researching cinema, and the changes in cinema’s forms of experience and production.

La formación de profesionales de la información en Cuba se encauza desde el Departamento de Ciencias de la Información de la Facultad de Comunicación de la Universidad de La Habana. Una aproximación a su contexto histórico permite apreciar la evolución de las concepciones y los diferentes planes de estudios. A partir del 2008, la formación de estos profesionales se estructura y materializa a través del Plan de Estudios D. En este Plan, ocupan un lugar importante la teoría y la visión interdisciplinar. Ello se evidencia, en las relaciones entre disciplinas, la declaración de los propósitos, los autores de referencia, los conceptos básicos y las principales propuestas de las asignaturas asociadas a los fundamentos.

Em vários países, nomeadamente em Portugal, existe uma incidência elevada de erros matemáticos nas notícias de jornais generalistas. De facto, são vários os autores que salientam que a matemática é mal utilizada nas notícias, apesar de ser essencial na atividade jornalística. Este é um problema que, segundo a literatura, se deve também ao baixo nível de numeracia dos jornalistas, que se verifica em consequência da formação que têm. Assim, este artigo tem como objetivo apresentar os resultados de um estudo no qual se analisou a numeracia de alunos de um curso de Ciências da Comunicação. Investigou-se se o nível de numeracia é adequado às necessidades de um jornalista e, além disso, se a formação matemática do curso superior contribui para uma melhoria da aplicação de competências básicas. Os resultados indicam que os níveis de numeracia dos alunos são inferiores ao que é necessário para o trabalho jornalístico e ainda sugerem que a componente curricular matemática do curso não contribui para o aumento do nível de numeracia.

If we trace an archaeological perspective on the history of moving image, we will invariably find innumerable visual devices that both belong to the field of science and that have become popular optical toys. Allowing therefore to put in discussion if the nature of cinematic experience is in fact rooted historically in cinema, since this is a diffuse experience, synthesized in devices that wanted to give back anima to what had previously been fixed in an image. It is for this precise reason that it is particularly pertinent to approach in this context the Werner Nekes' collection of optical devices, because it possesses unique qualities as an archive that condenses the history of visual media, cross-referencing it with visual culture in its popular expression, as well as with the universe of fine arts and contemporary art.

The success of the digital game industry is spawning several undergraduate degrees aiming at the training of digital game developers. Building adequate new courses curricula is not a trivial task and demands a profound analysis of the scientific areas to introduce as well as the dependencies throughout the entire degree. Another important aspect of every academic educational plan are the satellite projects that promote entrepreneurship and provide practical professional experiences to students. This paper presents the main guidelines adopted in the creation of the first digital game development undergraduate degree created in Portugal.

This paper discusses the power of emotions in our health, happiness and wholeness, and the emotional impact of movies. It presents iFelt, an interactive video application to classify, access, explore and visualize movies based on their emotional properties and impact.

The HCI community is actively seeking novel methodologies to gain insight into the user’s experience during interaction with both the application and the content. We propose an emotional recognition engine capable of automatically recognizing a set of human emotional states using psychophysiological measures of the autonomous nervous system, including galvanic skin response, respiration, and heart rate. A novel pattern recognition system, based on discriminant analysis and support vector machine classifiers is trained using movies’ scenes selected to induce emotions ranging from the positive to the negative valence dimension, including happiness, anger, disgust, sadness, and fear. In this paper we introduce an emotion recognition system and evaluate its accuracy by presenting the results of an experiment conducted with three physiologic sensors.

O contributo das redes sociais na luta contra o cancro tem sido conhecida, especialmente, pelo sucesso de movimentos de cidadãos com o objectivo de sensibilizar a sociedade portuguesa para a dádiva de medula óssea. Este tipo de campanhas solidárias, com o apoio dos Novos Media, foi um fenómeno iniciado em 2009 e tem vindo a desenvolver-se, sobretudo, no Facebook. Desde então, novos movimentos têm aparecido regularmente nesta rede social e ajudado a um aumento significativo do registo de dadores. Interessa-nos perceber como se desenvolvem este tipo de campanhas e que factores, contribuíram para o seu sucesso, procurando averiguar não só o poder da Web 2.0, mas também questões sobre a comunicação, a imagem e os media. O sucesso destes movimentos vai muito além da simples presença no Facebook. A análise global do sistema de comunicação é fundamental para compreender o diferente nível de sucesso atingido por cada movimento. No presente artigo, fazemos uma análise comparativa entre os principais movimentos de cidadãos, ocorridos entre 2009 e 2011, que comprova as supracitadas hipóteses.

Neste artigo procuramos averiguar a relevância que as marcas e identidades têm nas plataformas participativas no contexto da saúde, em particular na oncologia. Apesar de estas plataformas disponibilizarem aos cidadãos e instituições as mesmas ferramentas, a sua capacidade de mobilização não é a mesma. As instituições parecem ter maior facilidade, mas nem sempre tal acontece. Discutir o conceito de marca e de identidade contribuirá para responder a esta questão, bem como compreender porque é que as diferenças entre os cidadãos e as instituições se podem atenuar nos novos media. Baseamos a nossa análise na observação de páginas do Facebook, de instituições oncológicas e de grupos de apoio de cidadãos; num conjunto de entrevistas a doentes e familiares oncológicos; e em diferentes estudos na saúde. No fim, procura-se esclarecer a importância do estudo das marcas e da identidade, como possível directriz de novas soluções nos media participativos, que contribuam para atenuar o problema individual do cidadão que se relaciona com o cancro.

The goal of the present study is mapping the nature of possible contributions of participatory online platforms in citizen actions that may contribute in the fight against cancer and its associated consequences. These platforms are usually associated with entertainment: in that sense, we intent to test their validity in other domains such as health, as well as contribute to an expanded perception of their potential by their users. The research is based on the analysis of online solidarity networks, namely the ones residing on Facebook, Orkut and the blogosphere, that citizens have been gradually resorting to. The research is also based on the development of newer and more efficient solutions that provide the individual (directly or indirectly affected by issues of oncology) with the means to overcome feelings of impotence and fatality. In this article, we aim at summarizing the processes of usage of these decentralized, freer participatory platforms by citizens and institutions, while attempting to unravel existing hype and stigma; we also provide a first survey of the importance and the role of institutions in this kind of endeavor; lastly, we present a prototype, developed in the context of the present study, that is specifically dedicated to addressing oncology through social media. This prototype is already available online at www.talkingaboutcancer.org, however, still under development and testing. The main objective of this platform is to allow every citizen to freely build their network of contacts and information, according to their own individual and/ or collective needs and desires.

"Bruno Aleixo" is a viral animation character, created by the Portuguese collective GANA, that surfaced online in 2008. Their animation works have meanwhile crossed onto the most diverse media, and have been branching out in multiple webs of narratives, constantly referring to each other, as well as constantly quoting disparate references such as film classics, chatrooms and TV ads for detergents. This paper attempts a triple analysis of this object of study: the ways in which technology has been fostering non-linear narratives while widening the available aesthetic spectrum, the ways in which processes of cultural consumerism are being reinvented in light of the web 2.0, and the use of "pseudo-nonsense" as a process of oblique cultural psychoanalysis. We will further attempt to demonstrate how new media and web networks have been contributing to a fragmentation of audiences, as well as a blurring between dominant cultures and sub-cultural phenomena; and we will end by positing that the structural principles behind the "Bruno Aleixo" series can be applied in social and cultural contexts situated at the opposite end of the spectrum of traditional expectations regarding Animation.

The construction sector has one of the worst occupational safety and health records in Europe. The costs of this scenario are very high, namely costs for workers and their families, costs to organizations, resulting from the absence of workers due to illness, insurance premiums, costs resulting from reduced productivity, cost of replacement and training of workers, etc., and costs to society, which in turn increases the costs of health systems. This paper presents and discusses the development of a methodology for economic evaluation in the context of risk management, which will allow senior management to support decision making. The possible application of this methodology to the construction sector is discussed.