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Articles de revues sur le sujet « Visual Dialogue »

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Auteur : Grafiati
Publié le 11 mars 2023

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1

Harvie, Jennifer, et Richard Paul Knowles. « Dialogic Monologue : A Dialogue ». Theatre Research in Canada 15, no 2 (janvier 1994) : 136–63. http://dx.doi.org/10.3138/tric.15.2.136.

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Michael Sidnell has drawn attention to the potential for dramatic monologue to be dialogic in ways that dialogue in the theatre rarely is, and he has pointed to a recent proliferation of dialogic monologue in Canadian theatre. This essay will examine the potentially dialogic function of monologue in some contemporary Canadian plays. Questions central to this examination will be: when is monologue dialogic, and what are the effects of dialogic monologue? Considering that the actor often stands indexicallyfor an autonomous subject which is easily conflated with the character the actor is playing, we are interested in looking at how the dialogism of the character's monologue might destabilize subjectivity. Looking at monologues from a range of contemporary Canadian scripts and performances, we will consider how the dialogic configuration of subjectivity affects gender, race, and sexuality. And considering that dialogism may be (as Helene Keyssar has argued it was for Bakhtin) "key to the deprivileging of absolute, authoritarian discourses," we are interested in what specific "authoritarian discourses" contemporary Canadian dialogic monologue deprivileges.
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Harvie, Jennifer, et Richard Paul Knowles. « Dialogic Monologue : A Dialogue ». Theatre Research in Canada 15, no 2 (septembre 1994) : 136–63. http://dx.doi.org/10.3138/tric.15.2.136.

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Siegel, J., et D. Szafron. « Dialogue patterns—A visual language for dynamic dialogue ». Journal of Visual Languages & ; Computing 20, no 3 (juin 2009) : 196–220. http://dx.doi.org/10.1016/j.jvlc.2009.02.001.

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Khalil-Butucioc, Dorina. « The art of dialogueor „How the Bessarabian playwrights of the 1990s discussed with Plato ». Arta 30, no 2 (décembre 2021) : 64–69. http://dx.doi.org/10.52603/arta.2021.30-2.09.

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The inner mobility of the theater, doubled by the fast pace of life under the wave of postmodernity at the end of the twentieth century, conditioned not only the re-definition of a new theatrical language, but also the re-writing of dialogic forms specific to theatrical art. Or, in the texts of Constantin Cheianu, Val Butnaru, Nicolae Negru, Mircea V. Ciobanu, Dumitru Crudu, Irina Nechit, Maria Șleahtițchi and Nicolae Leahu, dialogue does not only have the classic role of triggering and motivating the action. The (sub)layers of conflict dialogues and „deaf dialogues”, parallel and echo dialogues, seemingly „absurd” association dialogues and „thesis-antithesis” dialogues, the dialogue monologues and the monologue dialogues evoke the alternation of linguistic registers and the play of languages. Completing and continuing the openness to multiple textual styles, the language of dialogues triggers and finalizes the communicative process between written and spoken, but also between text-show-audience. The „palpation” of the types of dialogues and the „immersion” in the mise en abysses of language give us the revelation of deciphering the symbols and meanings of contemporary national and universal drama and theater.
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Tweedie, M. Gregory, et Roswita Dressler. « Visual Aids as Response Facilitators in Dialogue Journals ». Language and Literacy 20, no 2 (23 mai 2018) : 125–43. http://dx.doi.org/10.20360/langandlit29182.

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Dialogue journals are useful pedagogical tools for developing communicative written fluency. While instructors often respond to student writing by modeling, questioning and providing feedback, visual aids are also sometimes used to enhance communication. In this study, findings from an examination of 12 adult English Language Learners’ dialogue journals reveal that the instructor demonstrated an understanding of visual aids, which included instructor-drawn pictures and textual enhancements. Some students responded with hand-drawn pictures of their own and noted that visuals increased their interest in writing and helped them to understand unfamiliar topics. The use of instructor-drawn pictures and textual enhancements as a part of dialogue journals facilitates communication and strengthens the rapport-building for which dialogue journals are well-known.
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Liu, Bo, Lejian He, Yafei Liu, Tianyao Yu, Yuejia Xiang, Li Zhu et Weijian Ruan. « Transformer-Based Multimodal Infusion Dialogue Systems ». Electronics 11, no 20 (20 octobre 2022) : 3409. http://dx.doi.org/10.3390/electronics11203409.

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The recent advancements in multimodal dialogue systems have been gaining importance in several domains such as retail, travel, fashion, among others. Several existing works have improved the understanding and generation of multimodal dialogues. However, there still exists considerable space to improve the quality of output textual responses due to insufficient information infusion between the visual and textual semantics. Moreover, the existing dialogue systems often generate defective knowledge-aware responses for tasks such as providing product attributes and celebrity endorsements. To address the aforementioned issues, we present a Transformer-based Multimodal Infusion Dialogue (TMID) system that extracts the visual and textual information from dialogues via a transformer-based multimodal context encoder and employs a cross-attention mechanism to achieve information infusion between images and texts for each utterance. Furthermore, TMID uses adaptive decoders to generate appropriate multimodal responses based on the user intentions it has determined using a state classifier and enriches the output responses by incorporating domain knowledge into the decoders. The results of extensive experiments on a multimodal dialogue dataset demonstrate that TMID has achieved a state-of-the-art performance by improving the BLUE-4 score by 13.03, NIST by 2.77, image selection Recall@1 by 1.84%.
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Kim, Hyounghun, Hao Tan et Mohit Bansal. « Modality-Balanced Models for Visual Dialogue ». Proceedings of the AAAI Conference on Artificial Intelligence 34, no 05 (3 avril 2020) : 8091–98. http://dx.doi.org/10.1609/aaai.v34i05.6320.

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The Visual Dialog task requires a model to exploit both image and conversational context information to generate the next response to the dialogue. However, via manual analysis, we find that a large number of conversational questions can be answered by only looking at the image without any access to the context history, while others still need the conversation context to predict the correct answers. We demonstrate that due to this reason, previous joint-modality (history and image) models over-rely on and are more prone to memorizing the dialogue history (e.g., by extracting certain keywords or patterns in the context information), whereas image-only models are more generalizable (because they cannot memorize or extract keywords from history) and perform substantially better at the primary normalized discounted cumulative gain (NDCG) task metric which allows multiple correct answers. Hence, this observation encourages us to explicitly maintain two models, i.e., an image-only model and an image-history joint model, and combine their complementary abilities for a more balanced multimodal model. We present multiple methods for this integration of the two models, via ensemble and consensus dropout fusion with shared parameters. Empirically, our models achieve strong results on the Visual Dialog challenge 2019 (rank 3 on NDCG and high balance across metrics), and substantially outperform the winner of the Visual Dialog challenge 2018 on most metrics.
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Su, Feng. « Restricted Dialogue ». Culture and Dialogue 2, no 1 (23 juillet 2014) : 33–51. http://dx.doi.org/10.1163/24683949-00201003.

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In continental China, the impact of modern Western ideologies such as Marxism and the anti-traditional movement at the turn of the 20th century continue to play a significant role in current debates in the visual arts. Specifically, the question of whether contemporary Chinese visual arts should preserve, reinvent, or react against their traditions has become a very controversial topic. This essay attempts to show the relevance of dialogue with the past by focusing on a traditional theme – cloud imagery – and the ways it was used in the Mao Zedong era (1942-1976). In spite of the political and social radicalism that promoted a break from tradition, cloud imagery was reinterpreted to convey such a radical ideology. Hence, in a hermeneutical irony, by promoting the idea of a better “cultural present” severed from tradition the Mao era simply confirmed how vital it is as a principle to maintain a relationship with the past. However, whether such a re-appropriation for socio-political purpose can be called a dialogue remains open to debate.
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Zyazyun, Laryssa, et Anna Razboinikova. « TEACHING ENGLISH DIALOGUE TO 10TH-GRADE SCHOOLERS : VISUAL ART ACTIVITIES IN THE CLASSROOM ». АRS LINGUODIDACTICAE, no 10 (2) (2022) : 32–45. http://dx.doi.org/10.17721/2663-0303.2022.2.03.

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Background. The article investigates the educational potential of visual arts for teaching English dialogue to high school students. The analysis of literature indicates the importance of using visual arts in teaching dialogue to secondary school students as it enables increasing the motivation of students to communicate, creates favourable conditions for creativity, and also reduces anxiety in the classroom. Purpose. Numerous studies have examined the educational potential of visual arts for teaching foreign languages, but no research has been found which give insight into the impact of visual arts on teaching spoken dialogue to high schoolers. Therefore, the goal of this paper is to study the effectiveness of using painting in an English classroom for enhancing dialogic communication. Methodology. The methodology of the research rests on the experimental instruction of the 10th-graders (n=42) which was carried out in three stages. In the first stage, the survey was conducted in order to identify the difficulties that students face while doing tasks on the development of English dialogic speech. The second stage of the experimental research was the instruction in English targeted at the development of dialogic speaking skills in students using works of art. In the third stage of the experiment, the results were analyzed and the conclusions of the research were formulated. Results and discussion. The analysis of the surveyed difficulties faced by the students in the process of instruction indicates that 59.5% of the respondents feel anxiety because of fear to make a mistake, 42.9% of the students have difficulties because of limited vocabulary, 35.7% of the schoolers are passive in class for fear of receiving a poor mark, and 35.7% of the respondents feel shy to speak up. The survey made after the experimental instruction showed that 99% of students exercised positive emotions in the classroom; 88% of the students found it interesting to communicate with each other while discussing fine arts and 70% of the respondents did not feel anxious when it was necessary to participate in the dialogue. The obtained data confirm the effectiveness of using visual arts for teaching spoken dialogue to secondary school students.
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Jiang, Xiaoze, Jing Yu, Zengchang Qin, Yingying Zhuang, Xingxing Zhang, Yue Hu et Qi Wu. « DualVD : An Adaptive Dual Encoding Model for Deep Visual Understanding in Visual Dialogue ». Proceedings of the AAAI Conference on Artificial Intelligence 34, no 07 (3 avril 2020) : 11125–32. http://dx.doi.org/10.1609/aaai.v34i07.6769.

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Different from Visual Question Answering task that requires to answer only one question about an image, Visual Dialogue involves multiple questions which cover a broad range of visual content that could be related to any objects, relationships or semantics. The key challenge in Visual Dialogue task is thus to learn a more comprehensive and semantic-rich image representation which may have adaptive attentions on the image for variant questions. In this research, we propose a novel model to depict an image from both visual and semantic perspectives. Specifically, the visual view helps capture the appearance-level information, including objects and their relationships, while the semantic view enables the agent to understand high-level visual semantics from the whole image to the local regions. Futhermore, on top of such multi-view image features, we propose a feature selection framework which is able to adaptively capture question-relevant information hierarchically in fine-grained level. The proposed method achieved state-of-the-art results on benchmark Visual Dialogue datasets. More importantly, we can tell which modality (visual or semantic) has more contribution in answering the current question by visualizing the gate values. It gives us insights in understanding of human cognition in Visual Dialogue.
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Pang, Wei, et Xiaojie Wang. « Visual Dialogue State Tracking for Question Generation ». Proceedings of the AAAI Conference on Artificial Intelligence 34, no 07 (3 avril 2020) : 11831–38. http://dx.doi.org/10.1609/aaai.v34i07.6856.

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GuessWhat?! is a visual dialogue task between a guesser and an oracle. The guesser aims to locate an object supposed by the oracle oneself in an image by asking a sequence of Yes/No questions. Asking proper questions with the progress of dialogue is vital for achieving successful final guess. As a result, the progress of dialogue should be properly represented and tracked. Previous models for question generation pay less attention on the representation and tracking of dialogue states, and therefore are prone to asking low quality questions such as repeated questions. This paper proposes visual dialogue state tracking (VDST) based method for question generation. A visual dialogue state is defined as the distribution on objects in the image as well as representations of objects. Representations of objects are updated with the change of the distribution on objects. An object-difference based attention is used to decode new question. The distribution on objects is updated by comparing the question-answer pair and objects. Experimental results on GuessWhat?! dataset show that our model significantly outperforms existing methods and achieves new state-of-the-art performance. It is also noticeable that our model reduces the rate of repeated questions from more than 50% to 21.9% compared with previous state-of-the-art methods.
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Fields, Alison. « New Mexico'sCuarto Centenario : History in Visual Dialogue ». Public Historian 33, no 1 (février 2011) : 44–72. http://dx.doi.org/10.1525/tph.2011.33.1.44.

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Dine, Susan. « Critique, Dialogue, and Action ». Museum Worlds 9, no 1 (1 juillet 2021) : 19–32. http://dx.doi.org/10.3167/armw.2021.090103.

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In recent decades, the museum world has devoted time and resources to studying the opinions and actions of their visitors; however, it is much more difficult to access perspectives of a more general public that includes non-visitors. This article situates popular visual culture as a form of engagement between museum professionals and the public. By analyzing the museum scene of the Marvel Studios movie Black Panther, as well as responses to it, and then contextualizing these within the history and current events of the museum field, I identify ways in which popularly received visual culture can spur change in other cultural industries—creating productive critiques that can evolve into impactful dialogue and action to model responsive research and more inclusive museum practices.
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Yu, Jing, Xiaoze Jiang, Zengchang Qin, Weifeng Zhang, Yue Hu et Qi Wu. « Learning Dual Encoding Model for Adaptive Visual Understanding in Visual Dialogue ». IEEE Transactions on Image Processing 30 (2021) : 220–33. http://dx.doi.org/10.1109/tip.2020.3034494.

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Bottoni, P., M. F. Costabile et P. Mussio. « Specification and dialogue control of visual interaction through visual rewriting systems ». ACM Transactions on Programming Languages and Systems 21, no 6 (novembre 1999) : 1077–136. http://dx.doi.org/10.1145/330643.330644.

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Clammer, John Robert. « Dialogue through the Image ». International Journal of Asian Christianity 1, no 1 (1 novembre 2018) : 117–33. http://dx.doi.org/10.1163/25424246-00101007.

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This paper examines the relationship between the transmission of religion (specifically Christianity) and not texts but visual images, in this instance as embodied in Christian art. The paper is not an exercise in art history as such but an attempt to build a model of the multiple effects of the reception of a new visual culture on a range of cultural dimensions, and in particular the ways in which the new visual discourse transforms ideas about the self, the body, nature, and a wide range of other significant elements of culture. The paper explores the ways in which Christian art transformed subjectivities across wide areas of Asia and contributed in a major way to the establishment of what has become known as modernity. It argues that processes of religious conversion are not only cognitive but also involve the internalization of new forms of representation, ritual, clothing, and other forms of material culture. Studies of the transmission of Buddhism in Asia have suggested that this artistic and material dimension is critical, and the paper raises the question as to what extent the same can be said about the transmission and reception of Christianity. The paper also makes methodological suggestions about fresh ways of linking art history to the analysis of cultural change, especially as it relates to questions of religious transformation.
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Wikström, Britt-Maj. « The Dynamics of Visual Art Dialogues : Experiences to Be Used in Hospital Settings with Visual Art Enrichment ». Nursing Research and Practice 2011 (2011) : 1–7. http://dx.doi.org/10.1155/2011/204594.

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Objectives. Given that hospitals have environmental enrichment with paintings and visual art arrangement, it would be meaningful to develop and document how hospital art could be used by health professionals.Methods. The study was undertaken at an art site in Sweden. During 1-hour sessions, participants () get together in an art gallery every second week five times.Results. According to the participants a new value was perceived. From qualitative analyses, three themes appear: raise association, mentally present, and door-opener. In addition 72% of the participants reported makes me happy and gives energy and inspiration, and 52% reported that dialogues increase inspiration, make you involved, and stimulate curiosity.Conclusion. The present study supported the view that visual art dialogue could be used by health care professionals in a structured manner and that meaningful art stimulation, related to a person’s experiences, could be of importance for the patients. Implementing art dialogues in hospital settings could be a fruitful working tool for nurses, a complementary manner of patient communication.
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Spring, Christopher. « dialogue ». African Arts 45, no 1 (mars 2012) : 14. http://dx.doi.org/10.1162/afar.2012.45.1.14.

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Altorf, Hannah Marije. « Dialogue and discussion : Reflections on a Socratic method ». Arts and Humanities in Higher Education 18, no 1 (18 octobre 2016) : 60–75. http://dx.doi.org/10.1177/1474022216670607.

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This article starts from the observation that Socratic dialogues in the Nelson–Heckmann tradition can create a sense of belonging or community among participants. This observation has led me to the current argument that Socratic dialogue offers an alternative to more prominent forms of conversation, which I have called ‘discussion’ and ‘discourse of uncritical acceptance.’ I explain the difference between these forms of conversation by considering the role of experience in Socratic dialogue and the requirement that participants put themselves in each other’s shoes. My argument is structured according to the different phases in a Socratic dialogue and placed within the literature on this method, as well as Hannah Arendt’s writing on imagination.
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Peels, Hanna, et Sofie Sergeant. « PAINTING PICTURES : TOWARDS CONNECTING THROUGH IMAGERY IN DIALOGUES WITH YOUNG PEOPLE WITH INTELLECTUAL DISABILITY ». International Journal of Child, Youth and Family Studies 9, no 4 (4 décembre 2018) : 125–45. http://dx.doi.org/10.18357/ijcyfs94201818644.

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The authors discuss pivotal themes in the use of imagery (visual and verbal) as a method to engage in dialogue with young people with intellectual disability (ID). In their discussion they reflect on co-occurring changes in Dutch society, the nature of caregiving, and the increasing appeals for empowerment for and by people with ID. A critical dialogue is used to analyse experiences with imagery from their previous research, and the possibilities imagery harbours to improve dialogues on quality of life with young people with ID. Through analysis of the critical dialogue, five themes were identified: leitmotiv, ambiguity, choice, revelation, and distance. To conclude, the authors discuss why family members and professional support workers should consider using imagery as a productive methodology.
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McDonald, Fiona P., et Stephanie Sadre-Orafai. « Empathy, Care, and Dialogue : Transforming Visual Anthropology’s Publics ». Visual Anthropology Review 36, no 2 (septembre 2020) : 203–6. http://dx.doi.org/10.1111/var.12224.

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Vavilova, Zhanna. « The Subject in Dialogue : a Visual Semiotic Perspective ». Dialogue and Universalism 24, no 2 (2014) : 193–204. http://dx.doi.org/10.5840/du201424238.

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Valtolina, Stefano, et Lorenzo Neri. « Visual design of dialogue flows for conversational interfaces ». Behaviour & ; Information Technology 40, no 10 (28 avril 2021) : 1008–23. http://dx.doi.org/10.1080/0144929x.2021.1918249.

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Javdani, Sadaf. « Sensuous Ethnography : A Visual Dialogue with Iranian Transmigrants ». Visual Anthropology 29, no 4-5 (22 juillet 2016) : 432–50. http://dx.doi.org/10.1080/08949468.2016.1192404.

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Łabędzka, Izabella. « Gao Xingjian’s Dialogue with Literary and Visual Traditions ». Porównania 26 (15 juin 2020) : 331–43. http://dx.doi.org/10.14746/por.2020.1.19.

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The paper is devoted to the contemporary Chinese prose and drama writer, painter,stage director and author of experimental art films, Gao Xingjian. My aim is topresent his innovative solutions in the field of different arts and media. I try toanalyze his works in a broad context of Eastern and Western culture and to showthe flexibility with which he crosses the narrow borders of arts, makes use of therich heritage of his native traditional culture, Chinese Taoist philosophy with itsprocessual understanding of reality. I also point at his interest in the aesthetics ofemptiness and artistic minimalism.
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Keidser, Gitte, Simon B. L. With, Tobias Neher et Sergi Rotger-Griful. « Do Visual Cues Aid Comprehension of a Dialogue ? » Hearing Journal 76, no 03 (23 février 2023) : 22,23,24. http://dx.doi.org/10.1097/01.hj.0000922292.15379.9d.

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Sweeny, Robert W. « Dialogue and Tension ». Studies in Art Education 63, no 3 (3 juillet 2022) : 183–87. http://dx.doi.org/10.1080/00393541.2022.2096358.

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Knights, Ben. « Masculinities in dialogue ». Arts and Humanities in Higher Education 10, no 1 (février 2011) : 39–45. http://dx.doi.org/10.1177/1474022210389577.

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Akesson, Bree. « Visual methods with children and young people : academics and visual industries in dialogue ». Visual Studies 34, no 3 (3 juillet 2019) : 303–4. http://dx.doi.org/10.1080/1472586x.2019.1654734.

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Westbrook, Fiona, Anna Tibb, Leigh Blackall et Hepsibah Zabde. « Web-Conference Lecturing : In Dialogue with Student Experiences During a Pandemic ». Video Journal of Education and Pedagogy 5, no 1 (11 janvier 2021) : 1–17. http://dx.doi.org/10.1163/23644583-00501009.

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Abstract covid-19 is an omnipresent feature of 2020, both globally and within Australia. For university students, a consequence of this has been the shift from on-campus to online delivery. Exploring these visual realities for lecturers and students, this article engages in Bakhtinian dialogism; a dialogic interaction that is born between peoples searching for meaning (Bakhtin, 1986). To do so, the authors engaged with and responded to students’ survey data whom they lecture and coordinate. Although the survey had limited responses, it enabled the authors to dialogue about received knowledge (istina) from students and contemplate this in relation to the authors’ own perspectives and experiences (pravda). Through this engagement, they suggest the importance of visually imbued emotive connectivity and dialogic relational care within web-conferencing, as well as didactic lecturing as valid forms of visual engagement.
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Agarwal, Sanchit, Jan Jezabek, Arijit Biswas, Emre Barut, Bill Gao et Tagyoung Chung. « Building Goal-Oriented Dialogue Systems with Situated Visual Context ». Proceedings of the AAAI Conference on Artificial Intelligence 36, no 11 (28 juin 2022) : 13149–51. http://dx.doi.org/10.1609/aaai.v36i11.21710.

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Goal-oriented dialogue agents can comfortably utilize the conversational context and understand its users' goals. However, in visually driven user experiences, these conversational agents are also required to make sense of the screen context in order to provide a proper interactive experience. In this paper, we propose a novel multimodal conversational framework where the dialogue agent's next action and their arguments are derived jointly conditioned both on the conversational and the visual context. We demonstrate the proposed approach via a prototypical furniture shopping experience for a multimodal virtual assistant.
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Waldman, Gitte, Trysh Wahlig et Robert Zolna. « Icograda 2003 Congress Visualogue : A Visual Dialogue Between Designers ». Design Issues 21, no 2 (mars 2005) : 90–95. http://dx.doi.org/10.1162/0747936053630133.

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Sherman, M. « KHALID KODI : ASRAR : A Visual Dialogue with Alice Walker ». Nka Journal of Contemporary African Art 2000, no 11-12 (1 septembre 2000) : 114. http://dx.doi.org/10.1215/10757163-11-12-1-114.

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Morley, Simon, et Daniel Sturgis. « Painting as transcultural dialogue ». Journal of Contemporary Painting 6, no 1-2 (1 octobre 2020) : 3–9. http://dx.doi.org/10.1386/jcp_00010_2.

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Bryan-Wilson, Julia, et Cheryl Dunye. « Imaginary Archives : A Dialogue ». Art Journal 72, no 2 (juin 2013) : 82–89. http://dx.doi.org/10.1080/00043249.2013.10791037.

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Bennett, Rosemary. « The dance‐music dialogue ». Dance Chronicle 18, no 1 (janvier 1995) : 129–32. http://dx.doi.org/10.1080/01472529508569184.

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Fairey, Tiffany, et Liz Orton. « Photography as Dialogue ». Photography and Culture 12, no 3 (3 juillet 2019) : 299–305. http://dx.doi.org/10.1080/17514517.2019.1669992.

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Lima Sales, Roberto. « DIÁLOGO DE SABERES NA RELAÇÃO JUVENTUDE-ESCOLA-COMUNIDADE : UM ENCONTRO DE GERAÇÕES COM A POÉTICA NARRATIVA DA MEMÓRIA ». Revista Científica Semana Acadêmica 9, no 207 (17 septembre 2021) : 1–17. http://dx.doi.org/10.35265/2236-6717-207-9204.

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The objective of this study was to understand and highlight the educational potentialities, related to the dialogue between scientific and non-scientific knowledge, of an extension project that promotes the dialogue between scientific and non-scientific knowledge, of an outreach project that promotes artistic-pedagogical artistic-pedagogical actions through the dialogue between generations, having visual art, collective memory and the ecology of knowledge perspective as mediators. memory and the perspective of the ecology of knowledge as mediators. This work is based is based on the foundations of Boaventura Santos (2007, 2010), in relation to his perspective on the "Ecology of knowledge" and the "Ecology of knowledge", and Paulo Freire's (1996, 2011a, 2011b). The relationship between poetic narratives and collective memory was based on the studies of. Halbwachs (2004) and Walter Benjamin (1984, 1994, 1995). This research was organized on the basis of an exploratory qualitative exploratory study, adopting the case study as a research technique. research technique. The locus of the research was defined as the rural space, and young high school students and a family were investigated. high school students and a family of family farmers were investigated. The results of this The results of this research indicate that the participating students, when involved in dialogues with peasant subjects, mobilized different different knowledge linked to the construction of collective and dialogic processes that allow for the collective and dialogic processes that allow relating different forms of school or non-school knowledge. It was also found that the discourses and practices of the students manifested reflections on the ecology of knowledge perspective with the intention of applying it in artistic-pedagogical actions that occurred during the execution of the extension project investigated.
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Barevičiūtė, Jovilė. « Editorial. Dialogue, Communication and Collaboration : Aspects of Philosophy and Communication ». Coactivity : Philosophy, Communication 24, no 1 (31 mars 2016) : 1–2. http://dx.doi.org/10.3846/cpc.2016.246.

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Acting as a usual means of everyday communication and collaboration, dialogue is also a fundamental mode of human presence in the world. It is innate and, therefore, feels organic to people. Nothing but a dialogue determines and defines the inborn human potential of reflexivity, empathy and communitivity. Naturally, it is hardly surprising that as a phenomenon, a dialogue constantly fell within the purview of most prominent European thinkers and throughout different historical epochs, in the spaces of philosophy and communication, it unfolded in a diverse and multidimensional manner. Ancient Greek philosopher Plato wrote in the form of dialogue, this way opening the possibility to a reader to learn about the world and the order of things as well as defining a certain relationship between the perceiving subject and the perceivable object. In the early Middle Ages, writings of Saint Augustine encouraged people to immerse into themselves and start a conversation with God, which established a certain living relationship between spaces empirical and transcendental. Much later, towards the end of the 19th and the beginning of the 20th century, German phenomenologist Edmund Husserl, who developed the theory of the intentionality of the consciousness, perceived that no living relationship between people is feasible without intersubjectivity. In this case, the communication is conditioned on the focus of at least two subjects on a certain object. This object, in particular, ensures the potential of the meaning, content and the purpose of communication. Another German author Martin Buber treated the dialogue as a phenomenon, in which an individual establishes a personal relationship with the Christian God, and this gives rise to a certain immediacy: a confrontation with the Ruler of the Kingdom of Heaven gives meaning to all the other interpersonal relationships. These are but few different philosophical interpretations of dialogue as a phenomenon. The universe of issues related to dialogue emerges from thinking perspectives of philosophers as well as communication theorists. On the one hand, the perspective of communication trivializes the phenomenon of dialogue, depriving it of its depth and profoundness; and on the other hand, it defines and specifies the concept of dialogue, assigning to it a form or function. This issue of the journal is devoted to the analysis of the phenomenon of dialogue both in the fields of philosophy and communication, inquiring into different contexts of its development. In her article Communication Solutions by Improving Interactive Art Projects, Gintarė Vainalavičiūtė analyses the relationship between visual arts and contemporary technologies, which determines both the rise of the forms of dialogue and non-traditional understanding of works of art. Mindaugas Stoškus contributed an article entitled Disciplines of Political Philosophy and Political Science: Antagonism, Cooperation or Indifference? in which he investigates the relationship between these two disciplines, conditions and problems pertaining to their dialogue, and the particularly intensified dynamics of the dialogue in the fifties of the 20th century. In their article Online Artistic Activism: Case-Study of Hungarian-Romanian Intercultural Communication, Gizela Horváth and Rozália Klára Bakó delve into the interactive relationship between works of art and their perceiver, as these works of art send messages via the social media environment. Moral Perception, Cognition, and Dialogue is an article authored by Vojko Strahovnik, in which he examines the causes for the rise of cases that hinder intercommunication and mutual understanding, such as disagreement, intercultural dialogues, etc. Problems of visual communication and the specificity of visual languages, bringing together subjects into dialogue are discussed by Arto Mutanen in his article Relativity of Visual Communication. Another article entitled Scientific Realism versus Antirealism in Science Education is a contribution by Seungbae Park, in which he attempts to define how the dialogue between teachers and students is possible, as he takes the position stating that the doctrine of scientific realism is much more effective than provided opportunities of scientific antirealism. And finally, Algis Mickūnas, in his article The Different Other and Dialogue, discusses the reasons why members of different communities find it difficult to establish dialogue-based relationships and why in some cases they remain imprisoned in the state of a monologue. This issue of the journal presents a truly wide field of investigations into opportunities and obstacles for communication, interaction and collaboration. It is pleasing to see that representatives of various humanities and social sciences joined the same dialogue. Looking forward to the productive insights in the future, the Editor would like to express her gratitude to the authors of this issue.
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Lundälv, Jörgen, et Charlotta Thodelius. « Risk of Injury Events in Patients With Visual Impairments : A Swedish Survey Study Among Hospital Social Workers ». Journal of Visual Impairment & ; Blindness 115, no 5 (septembre 2021) : 426–35. http://dx.doi.org/10.1177/0145482x211046666.

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Introduction: People with visual impairments (those who are blind or have low vision) are exposed to risks in everyday life, especially injury risks. This study aimed to examine experiences and practical knowledge among hospital social workers in Sweden concerning meetings with patients with visual impairments who have been affected by injury events in residential environments. Methods: Swedish hospital social workers specializing in patients with visual impairments ( n=30) answered a questionnaire comprising 14 questions. Both fixed and open-ended questions were included, allowing an analysis of both comparable numeric data and subjectively perceived experiences and opinions. Results: A majority of the respondents had met patients who had been injured in the residential setting; the most common injury mechanism reported was tripping or falling on the stairs, or accidentally stumbling into furniture. The hospital social workers acknowledged that they could work more preventively in their professional role by encouraging patients to use orientation and mobility devices such as long canes, increasing collaboration with other professions, and conducting home visits to enable trustful dialogues with both patients and relatives. Discussion: According to these specialized hospital social workers, the provision of education and information to patients with visual impairments could potentially prevent future injury. However, in order to achieve this, there is a need to first enable a trustful dialogue between social workers and patients. Implications for practitioners: This study provides a better understanding of the importance of trustful dialogue between hospital social workers and patients with visual impairments, from the point of view injury prevention. It also offers a summary of the knowledge of hospital social workers about risks and injury events in residential settings for patients with visual impairments.
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Saptorahardjo, Michael Amadeus, et Elda Franzia. « KEUNIKAN UNSUR PENYAMPAIAN PESAN FILM “GROWTH” ». Jurnal Dimensi DKV Seni Rupa dan Desain 5, no 1 (1 avril 2020) : 71. http://dx.doi.org/10.25105/jdd.v5i1.6863.

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<p><strong>Abstract</strong></p><p>The Uniqueness of Delivering Messages in “Growth” Movie. Most of the Indonesian audience are not familiar with silent movie. Silent movie is basically a film that has no dialogue and only uses visual elements as means to convey messages. The objects of this research is “Growth” movie by Sil Van Der Woerd, that has their own uniqueness compared to movies today. Instead of using dialogues between characters, this movie use expression, gesture, and color to explain the story to the audience. Sil Van Der Woerd is one of the famous directors from the Netherlands, trying to work on a continuous film and without dialogue. The uniqueness of delivering messages on this movie will be analyzed through visuals with descriptive research methods. The data collecting methods are visual observation, journal and online references, and interview according visual and story of the movie. The results of this research is the understanding of how expression, gesture, and color use to explained the story to the audience.</p><p><br /><strong>Abstrak</strong></p><p>Keunikan Unsur Penyampaian Pesan Film “Growth”. Sebagian besar penonton Indonesia sudah tidak mengenal lagi film bisu. Film bisu pada dasarnya adalah sebuah film yang tidak memiliki dialog dan hanya menggunakan unsur visual sebagai sarana untuk menyampaikan pesan. Objek pada penelitian ini adalah film “Growth” yang memiliki keunikan tersendiri dibandingkan dengan film-film pada zaman sekarang, karya Sil Van Der Woerd. Film ini tidak menggunakan dialog percakapan antar karakter, namun menggunakan ekspresi, gestur, dan warna untuk menjelaskan cerita kepada penonton. Sil Van Der Woerd adalah salah satu sutradara terkenal asal Belanda yang mencoba menggarap sebuah continuous movie serta tanpa adanya dialog. Keunikan penyampaian pesan pada film ini akan dianalisis melalui elemen-elemen visualnya dengan metode penelitian deskriptif. Teknik pengumpulan data dilakukan dengan observasi visual, referensi jurnal dan berbagai sumber online, serta wawancara narasumber terkait visual dan jalan cerita film ini. Hasil dari penelitian ini adalah pemahaman tentang penggunaan elemen ekspresi, gestur dan warna dalam penyampaian cerita kepada penonton. <br /><br /></p>
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Dils, Ann, et Jill Flanders Crosby. « Dialogue in Dance Studies Research ». Dance Research Journal 33, no 1 (2001) : 62. http://dx.doi.org/10.2307/1478857.

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Wesker, Arnold. « The Nature of Theatre Dialogue ». New Theatre Quarterly 2, no 8 (novembre 1986) : 364–68. http://dx.doi.org/10.1017/s0266464x00002372.

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‘What makes one sentence into a line of poetry and another sentence dull and lifeless?’ This was one of the questions Arnold Wesker set out to answer from the point-of-view of the practising playwright rather than the critical theorist, when he delivered the following pape; to the biennial conference of the International Association of Theatre Critics in Rome in 1985. He examines the constituent elements of stage dialogue in supposdly ‘raistic’ drama and th rigorous if not always conscious process of artistic selection and shaping diotated, in his own practice, by the natur of the originating experence. He illustrates his argument with extracts from his own works. including his most recently staged play in London, Annie Wobbler – the first in a now-completed cycle of four plays for on woman of which Four Portraits, Yardsal, and Whatever Happened to Betty Lemon? are the other parts. A frequent contributor to the original series of Theatre Quarterly, Arnold Wesker's earliest works, the plays of the ‘Wesker Trilogy’ and The kitchen, were milestones in the creatior of the ‘now British drama’ of the late fifties, and he has continuec to write for the theatre in a wide range of styles – which have been known to disturb the ‘expectations of realism’ of some of the critics he was here addressing…
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Ron, Shimrit. « ‘Isra-Drama : Exposure as Dialogue’ ». Contemporary Theatre Review 32, no 3-4 (2 octobre 2022) : 259–65. http://dx.doi.org/10.1080/10486801.2022.2117805.

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Sugianto, Ahmad, Ilham Agung Prasetyo et Widy Asti. « ‘IS THE PICTURE WORTH A THOUSAND WORDS?’ : THE INTERPERSONAL MEANINGS OF A DIALOGUE IN AN EFL TEXTBOOK ». Journal of Languages and Language Teaching 10, no 2 (19 avril 2022) : 187. http://dx.doi.org/10.33394/jollt.v10i2.4510.

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This study was aimed at scrutinising a multimodal text embedded in a dialogue of an EFL textbook. To this end, Systemic Functional Multimodal Discourse Analysis (SF-MDA) focused on interpersonal meanings consulting grammar of visual design and intersemiotic complementarity drawing on systemic functional linguistics were employed to analyse the artefact, a dialogue within a part named 'communication' taken from an EFL textbook for a primary school level. The findings revealed that declarative clause and modalisation (epistemic modality) of probability was found to be the most common system used in the verbal text. Meanwhile, high modality and validity were found in the visual image indicated by the realisations and representations of detailed abstraction and full-colour saturation. Finally, the study draws a conclusion that there is a cohesive interaction to a certain extent between the verbal text and the visual image represented in the multimodal dialogue.
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Žukauskienė, Odeta. « Transhistorical Dialogue Concerning Images : Baltrušaitis and Kircher ». Art History & ; Criticism 16, no 1 (1 décembre 2020) : 5–17. http://dx.doi.org/10.2478/mik-2020-0001.

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SummaryThe article explores the works of Jurgis Baltrušaitis on depraved perspectives. In particular, it examines his references to Jesuit scholar Athanasius Kircher in the books dedicated to anamorphoses, aberrations, Egyptomania and distorting mirror’s reflections. The paper questions what led Baltrušaitis to the dialogue with the German visionary. The close reading of Baltrušaitis works reveals that in Kircher’s pre-modern thinking the art historian found those domains of between-the-two, communalities of art and science, art and nature, art and social imaginary that have become more important in postmodernist period. Kircher’s treatises, previously uninterpreted in the context of art history, encouraged the development of the broader studies of images focused on visual phenomena that remained for a long time outside the autonomous field of art history. Without privileging an aesthetic and evolutionary approach in art history, Baltrušaitis’ works reveal anthropological and ontological dimensions of images. They disclose that the image is always related to visual experience and imagination, which takes us beyond the horizon of reality.
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Scott, Grant F. « Painting words : Severn’s visual dialogue with Keats inThe Fountain(1828) ». Word & ; Image 31, no 3 (3 juillet 2015) : 288–304. http://dx.doi.org/10.1080/02666286.2015.1047665.

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Croft, Michael. « A dialogue of one : Reflection on visual practice through drawing ». Drawing : Research, Theory, Practice 1, no 1 (1 janvier 2016) : 17–36. http://dx.doi.org/10.1386/drtp.1.1.17_1.

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Karim, Ana. « Book Review : Visual Faith : Art, Theology, and Worship in Dialogue ». Interpretation : A Journal of Bible and Theology 56, no 4 (octobre 2002) : 450. http://dx.doi.org/10.1177/002096430005600433.

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Quintanilla, Raúl. « A suspended dialogue : The Nicaraguan revolution and the visual arts ». Third Text 7, no 24 (septembre 1993) : 25–34. http://dx.doi.org/10.1080/09528829308576433.

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