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Статті в журналах з теми "EMOLIS App"
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Scherr, Simon André, Svenja Polst, Lisa Müller, Konstantin Holl, and Frank Elberzhager. "The Perception of Emojis for Analyzing App Feedback." International Journal of Interactive Mobile Technologies (iJIM) 13, no. 02 (February 22, 2019): 19. http://dx.doi.org/10.3991/ijim.v13i02.8492.
Повний текст джерелаАнотація:
<p class="0abstract"><span lang="EN-US">When analyzing textual user feedback, the challenge today is that automation is only possible in a non-satisfactory way due to the limitations of understanding natural language. However, manual evaluation is not possible for products with a large amount of user feedback, as this is neither efficient nor effective. Internet texts are full of emojis. Emojis tell how a user feels about certain aspects of a product. We conducted a survey on the perception of emojis and used the results from 107 participants. The core result is that people perceive emojis in a very homogenous way regarding their sentiments and the emotions they represent This means that emojis give us a tool for analyzing the users’ perspectives on a product by looking at the emojis contained in their feedback. </span></p>
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Rebane, Gala. "FOOD & DRINK-EMOJIS." POP 12, no. 1 (April 1, 2023): 38–44. http://dx.doi.org/10.14361/pop-2023-120106.
Повний текст джерела
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Gao, Biao, Xingxing Wang, and Han Liu. "An Empirical Study on the Communication and Usage Psychology of Emoji in Wechat." OBM Neurobiology 06, no. 04 (October 17, 2022): 1–18. http://dx.doi.org/10.21926/obm.neurobiol.2204142.
Повний текст джерелаАнотація:
As an indispensable active atmosphere and meaningful emotional expression in social media, emojis describe the emotions of users in specific situations in a funny, humorous, euphemistic, and implicit form and attract users to use them consciously or unconsciously with their quick and convenient features. Currently, the research on the psychology of emoji usage is mostly from the perspective of users, while neglecting the essential attributes of emojis. The purpose of this study was to investigate and summarize the multi-dimensional factors that affect the communication and usage of emojis and to elucidate the influence of the essential attributes of emojis on their use. This study took the users of WeChat (the most widely used instant messaging app in China) as the research object. Data were collected utilizing semi-structured interviews and questionnaires. SPSS 25.0 software was applied to conduct exploratory factor analysis on relevant data to explore and summarize several dimensions of WeChat users’ emoji communication and usage psychology. The results showed that gender, age, education, and occupation were important factors affecting the usage and communication of emojis. The psychology of emoji usage had multi-dimensional characteristics and according to the self-determination theory, it could be divided into internal and external factors. The internal factors included information, efficiency, and entertainment, and the external factors included communicativeness, culture, image, fuzziness, and context. Notably, the influence of fuzziness on the psychology of emoji usage has described the critical role of the essential attributes of emojis, which complemented the neglect of the fuzziness of emoji in previous studies, which might provide a direction for the design of emojis.
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Yumeina, Fariha Faza, Hana Nabila, and Lusiana Suciati Dewi. "Meaning Analysis of ???? and ???? Emojis in Chat Apps: A Semiotic-Semantic Study." JEPAL (Journal of English Pedagogy and Applied Linguistics) 5, no. 1 (August 31, 2024): 86–98. https://doi.org/10.32627/jepal.v5i1.1064.
Повний текст джерелаАнотація:
This research discusses the meaning of ???? and ???? emojis in chat apps. The ???? emoji is often used to express sadness or frustration, while the ???? emoji is often used for dark humor or to express that something is so funny it's "dead". This study aims to explore and reveal the meanings contained in these emojis according to the general views of chat app users. This research uses a qualitative approach with a focus on the description and interpretation of the phenomenon of emoji use. The main data source comes from direct observation of conversations in chat applications, as well as secondary data from related literature. Data collection techniques include participatory observation of emoji use in different contexts and analysis of conversation documentation. The results of this study are expected to provide a deeper understanding of how ???? and ???? emojis are used and interpreted in daily interactions, as well as how their meaning can change depending on the context of the conversation.
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Chandra Guntuku, Sharath, Mingyang Li, Louis Tay, and Lyle H. Ungar. "Studying Cultural Differences in Emoji Usage across the East and the West." Proceedings of the International AAAI Conference on Web and Social Media 13 (July 6, 2019): 226–35. http://dx.doi.org/10.1609/icwsm.v13i01.3224.
Повний текст джерелаАнотація:
Global acceptance of Emojis suggests a cross-cultural, normative use of Emojis. Meanwhile, nuances in Emoji use across cultures may also exist due to linguistic differences in expressing emotions and diversity in conceptualizing topics. Indeed, literature in cross-cultural psychology has found both normative and culture-specific ways in which emotions are expressed. In this paper, using social media, we compare the Emoji usage based on frequency, context, and topic associations across countries in the East (China and Japan) and the West (United States, United Kingdom, and Canada). Across the East and the West, our study examines a) similarities and differences on the usage of different categories of Emojis such as People, Food & Drink, Travel & Places etc., b) potential mapping of Emoji use differences with previously identified cultural differences in users’ expression about diverse concepts such as death, money emotions and family, and c) relative correspondence of validated psycho-linguistic categories with Ekman’s emotions. The analysis of Emoji use in the East and the West reveals recognizable normative and culture specific patterns. This research reveals the ways in which Emojis can be used for cross-cultural communication.
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Szabo, Roland. "Cloud Database Analysis of Instant Messaging Apps on Mobile Devices." Applied Sciences 15, no. 3 (February 2, 2025): 1509. https://doi.org/10.3390/app15031509.
Повний текст джерелаАнотація:
The purpose of this paper is to present the creation, challenges and difficulties of four utility apps to increase production on Android handheld devices. The motivation of creating the apps and the problems encountered during creation are highlighted. The first app is a fast emoji app for WhatsApp. The motivation for creating such an app is that usually phone users do not like to type too much; with this app, they can communicate with each other just by sending emojis. The second app is a standalone emoji sender app, which does the same thing as the previous app but uses its own database, not the WhatsApp database.
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Manokaran, Komalata, and Ong Shyi Nian. "THE FUNCTIONS OF E-LAUGHTER IN WHATSAPP CONVERSATIONS AMONG STUDENTS." Platform : A Journal of Management and Humanities 3, no. 2 (December 31, 2020): 55. http://dx.doi.org/10.61762/pjmhvol3iss2art9902.
Повний текст джерелаАнотація:
The terms of e-laughter (haha, hoho, hehe) are implicitly understood by everyone (Larson, 2015). Mostly WhatsApp is used to share written messages and images. It is also has been used to share their emotions, such as laughter. This study intended to focus on types of e-laughter and the function in WhatsApp conversations. This study explored 30 WhatsApp conversations and 30 online surveys to achieve the aims and goals by using Conversational Analysis (CA). This study resulted that e-laughter in the forms of emojis are being used universally among students, and laughter particles are functioned to express the emotion of laughter as in face to face interaction in mobilising the topics in WhatsApp conversations. These findings suggested that emojis are of high frequency, functionality, and efficiency in WhatsApp communication. Interestingly, e-laughter played a vital role in reflecting the non-verbal symbols in face-to-face communication. In socio-emotional settings, people frequently use laughter emojis to create a lively atmosphere to boost conversation (Li & Yang, 2018).Keywords: WhatsApp, written communication, emojis, e-laughter, conversational analysis
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De Oliveira, Renata Soares, Josivaldo Santos Silva, Maria Isabel Gomes Dos Santos, and Iraci Nobre Da Silva. "Multimodalidade: o uso de emojis como uma nova linguagem na construção de sentidos." OBSERVATÓRIO DE LA ECONOMÍA LATINOAMERICANA 21, no. 12 (December 26, 2023): 27337–50. http://dx.doi.org/10.55905/oelv21n12-208.
Повний текст джерелаАнотація:
O uso de emojis como uma nova linguagem na construção de sentidos na multimodalidade, constitui um novo objeto de estudo. Para a realização do nosso objetivo que é investigar o uso de emojis como uma nova linguagem na construção de sentidos na perspectiva da multimodalidade, tivemos que formular a seguinte questão norteadora: como o uso de emojis pode influenciar no ensino e aprendizagem nas aulas de língua portuguesa? Vale dizer que os emojis são figuras geradas pelo sistema Unicode para representar reações e os stickers usados para a mesma finalidade, que funcionam como mecanismos de comunicação. No intuito de inserir nossa voz nesse campo de pesquisa, destacamos as pesquisas de Tenório (2018), também como Ribeiro (2014) e Paiva (2015) como estado da arte. Ao percorrermos esse trajeto discursivo nos reportamos aos estudos da teoria da multimodalidade, de Kress & Van Leeuwen (2001, 2003, 2006 e 2010), Dionísio (2007), Negishi (2014) e a ideia defendida por Rojo (2012) acerca do multiletramento. E chegamos à conclusão de que o trabalho com os textos multimodais em sala de aula requer um olhar mais atento às possibilidades de leitura, interpretação e compreensão que as múltiplas linguagens representam nos textos presentes nas ações sociais. O crescente uso dos meios tecnológicos, assim como a utilização dos emojis, tem sido uma tentativa de passar um novo sentido para os contextos de interação, de forma mais prática, porém ao mesmo tempo fazendo despertar outros sentidos, tais como, emoções, reações e ademais.
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Yu, Zerong, Jiajian Yang, Jinfeng Zhong, Suqin Wu, Zhiguang Xu, and Youwen Tang. "Emodin voltammetric sensor based on molecularly imprinted polymer membrane-modified electrode using a multiple hydrogen bonds strategy." Journal of Applied Polymer Science 126, no. 4 (April 30, 2012): 1344–50. http://dx.doi.org/10.1002/app.36493.
Повний текст джерела
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Mandal, Bitapi, Soumen Singha, Sanjoy Kumar Dey, Swagata Mazumdar, Sanjay Kumar, Parimal Karmakar, and Saurabh Das. "CuIIcomplex of emodin with improved anticancer activity as demonstrated by its performance on HeLa and Hep G2 cells." RSC Advances 7, no. 66 (2017): 41403–18. http://dx.doi.org/10.1039/c7ra06696a.
Повний текст джерелаАнотація:
Structure of CuIIcomplex of emodin was solved from PXRD data. [CuII(emod)2]2−binds DNA better than emodin. Thermodynamic parameters for binding were found. Complex performs better than emodin on HeLa & Hep G2 cells; not affecting WI 38 normal cells.
Дисертації з теми "EMOLIS App"
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Lerch, Soëlie. "Suggestion de dessins animés par similarité émotionnelle : Approches neuronales multimodales combinant contenus et données physiologiques." Electronic Thesis or Diss., Toulon, 2024. http://www.theses.fr/2024TOUL0005.
Повний текст джерелаАнотація:
Le cadre général de cette thèse concerne l’étude des sentiments et des émotions afin de mieux comprendre leurs impacts, leurs interactions et ainsi améliorer la communication humain-machine. Un auteur peut véhiculer des sentiments et des émotions dans un message écrit ou au travers d’une vidéo et de ses personnages. Ces émotions et sentiments vont être interprétés par un lecteur ou un spectateur qui vont, eux-mêmes, ressentir des émotions. L’identification de ces émotions est subjective et n’est pas toujours facile. Par exemple, pour un spectateur, a-t-il été surpris ? a-t-il eu peur ? les deux ? Comment retrouver des vidéos qui lui permettront d’avoir les mêmes ressentis ? Pour répondre à ce type de questions, nos contributions exploitent, dans une analyse informatique, différentes modalités liées au contenu du support de communication mais aussi aux réactions physiologiques de ceux qui les reçoivent afin de détecter et d’identifier des émotions et de pouvoir leur suggérer des supports émotionnellement similaires. L’une de nos problématiques concerne la modélisation du sentiment et de l’émotion pour créer des modèles performants de détection de sentiments et d’émotions. Pour cela, nous étudions différentes représentations de données pour la prédiction d’émotions en exploitant la seule modalité texte. Différentes approches supervisées sont mises en œuvre ne nécessitant pas de lexiques. La seule modalité texte pouvant être ambiguë, nous étudions différentes représentations de données pour la prédiction d’émotions d’un point de vue multimodal. Pour cela, nous créons le corpus EMOLIS Dataset composé de dessins animés annotés en émotions et accompagnés de signaux physiologiques de spectateurs. Nous utilisons d’une part la modalité texte pour le contenu sémantique via la transcription des dialogues, la modalité image pour les expressions faciales des personnages, et la modalité audio pour les voix des personnages. D’autre part, nous exploitons des signaux physiologiques tels que électrocardiogramme, respiration et mouvements oculaires du spectateur. Ces différentes modalités permettent de prendre en compte à la fois l’émotion véhiculée par le contenu de la vidéo et les émotions ressenties par les spectateurs. Nous utilisons ensuite ce jeu de données pour évaluer différents modèles d’identification d’émotions contenues dans EMOLIS Dataset. Deux approches sont expérimentées selon une fusion tardive ou précoce des représentations des modalités avant la classification. Enfin, nous analysons l’impact de la prise en compte des émotions et des sentiments pour la suggestion de dessins animés. Nous décrivons le logiciel EMOLIS App qui permet la suggestion de dessins animés issus d’EMOLIS Dataset. Cette suggestion est basée sur le calcul de similarités entre matrices émotionnelles et multimodales et les signaux physiologiques. En perspective, EMOLIS App pourrait être exploitée dans le cadre de thérapies cognitives et comportementales pour les personnes présentant des troubles du spectre autistique et ayant des difficultés à identifier et verbaliser leurs émotionsThe general framework of this thesis related to the study of feelings and emotions to better understand their impacts and interactions, thereby improving human-machine communication. An author can convey feelings and emotions in a written message or through a video and its characters. These emotions and feelings are then interpreted by a reader or a viewer, who, in turn, experiences emotions. Identifying these emotions is subjective and not always easy. For example, was a viewer surprised? Were they scared? Or both? How can we find videos that would allow them to feel the same emotions again? To address such questions, our contributions leverage various modalities in a computational analysis—considering both the communication medium's content and the physiological reactions of recipients—to detect and identify emotions and to suggest emotionally similar content.Our first research question concerns the modeling of feelings and emotions to create efficient models for sentiment and emotion detection. To this end, we study different data representations for emotion prediction by utilizing only the textual modality. Various supervised approaches are implemented, which do not require lexicons.Since the textual modality alone can be ambiguous, we examine different data representations for emotion prediction from a multimodal perspective. For this purpose, we create the EMOLIS Dataset, consisting of cartoons annotated with emotions and accompanied by viewers' physiological signals. On one hand, we use the text modality to capture semantic content via dialogue transcription, the image modality for characters' facial expressions, and the audio modality for characters' voices. On the other hand, we utilize physiological signals such as electrocardiograms, respiration, and eye movements of viewers. These different modalities allow us to consider both the emotion conveyed by the video content and the emotions experienced by viewers.Then, we use this dataset to evaluate different models for identifying emotions contained within the EMOLIS Dataset. Two approaches are experimented with, depending on whether representations of modalities are merged late or early in the classification process.Finally, we analyze the impact of incorporating emotions and feelings into cartoon recommendations. We describe the EMOLIS App software, which suggests cartoons from the EMOLIS Dataset. This suggestion is based on calculating similarities between emotional and multimodal matrices as well as physiological signals.In the future, EMOLIS App could potentially be used in cognitive-behavioral therapies for individuals on the autism spectrum who may have difficulty identifying and verbalizing their emotions
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Laai, Tatiana de. "Música que vem do coração: emos, identidades, cultura juvenil & sociabilidade digital." Universidade do Estado do Rio de Janeiro, 2008. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=2542.
Повний текст джерелаАнотація:
A dissertação trata de recente fenômeno juvenil urbano marcado pela identificação com um estilo musical chamado emo; os jovens que fazem parte dessa cultura juvenil se consideram mais emotivos que as outras pessoas em geral. Os emos caracterizam se também pela negação, tanto de uma identidade de grupo quanto da associação estigmatizada com um estilo específico de se vestir, se comportar e se expressar. As questões teóricas presentes nesse trabalho discutem como emos se utilizam das categorias nativas, emoções e expressões de sentimentos para representar a música, os indivíduos e o próprio grupo. A abordagem analítica central é sobre esta articulação entre música e emoção como um recurso identitário. A Internet é uma importante referência para os sujeitos pesquisados, e como ferramenta de investigação está acompanhada de considerações metodológicas sobre a etnografia virtual.The dissertation deals with recent phenomenon marked by identifying urban youth with a music style called emo, young people who are part of this youth culture in particular consider themselves more emotional than other people in general. The Emos also characterizes themselves with a denial of both a group identity as the stigmatized association with a specific style of dress, behave and express themselves. The theoretical issues present in this paper discuss how "Emos" make use of native categories, "emotions" and "expressions of feelings" to represent music, individuals and the group itself. The analytical approach is central on this link between music and emotion as a resource identity. The Internet is an important reference for the research subjects, and as a research tool is accompanied by methodological considerations on virtual ethnography.
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LUGAO, JULIANA SEROA DA MOTTA. "PAWELS BRIEFE: READING AND WRITING OF MEMORY THROUGH AFFECTION, EMOTIOS AND IMAGES." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2012. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=21759@1.
Повний текст джерелаАнотація:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
A dissertação propõe investigar as diferentes formas de se entender memória na literatura de Monika Maron (Berlim/Alemanha, 1941-), especialmente na obra Pawels Briefe [Cartas de Pawel] (1999). Com fortuna critica eloquente, a obra da autora impulsionou diferentes conceitos e indagações acerca do tema memória. Maron parte de um arquivo familiar para construir a narrativa pós-memorial e monta sua história-ficção-memória a partir de imagens, cartas, depoimentos e imaginação literária. No contexto geral da obra de Maron, e Pawels Briefe é caracterizado como livro central. Temas como pós-memória, memória crítica, narrativa geracional, trauma e luto são contemplados, cotejados e indagados, assim os problemas da recepção dos textos de memória. Ao se tratar de imagens justapostas ao texto narrativo, defende-se que, além de um aide-memoire, as fotografias representam a inserção do silêncio na linguagem narrativa. Para isso, parte-se da obra de Rancière e seus argumentos a favor da potência representativa da literatura e questionando o elogio do irrepresentável, procura-se incluir o silêncio como potência no terreno da linguagem, em vez de identificá-lo como aquilo que está para além dela.
The thesis proposes the investigation of the various forms of understanding memory in the literary work of Monika Maron (Berlin/ Germany, 1941-), specially in Pawels Briefe [Pavels Letters] (1999). With eloquent wealth of treatises, the author’s work inspired different forms of understanding and questioning the subject of memory. Maron uses a family archive to create a post-memorial narrative and builds her historical –fictional- memorial book with pictures, letters and literary imagination. Pawels Briefe is put as a central piece in a broader view of Maron’s work. Subjects like post-memory, critical memory, generational narrative, trauma and grief are discussed, compared and questioned here. So are the issuesregarding the reception of memory texts. Addressing the juxtaposition of images and narrative, I support that photographic images represent not only an aide-memoire but also the inlcusion of silence in prose. Based on the works of Rancière and his arguments in favor of the representative potentiality of literature and questioning the eulogy of the irrepresentable, its objective is to include silence as a force in the field of language, instead of identifying it as something that is beyond it. In Pawels Briefe, by Monika Maron, this minute’s silence can be identified in the insertion of photographic pictures.
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Gruszczyńska, Ewa. "Linguistic images of emotions in translation from Polish into Swedish Henryk Sienkiewicz as a case in point /." Uppsala : AUU, 2001. http://catalog.hathitrust.org/api/volumes/oclc/48518853.html.
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Ruhl, Maria. "Die Darstellung von Gefühlsentwicklungen in den Elegien des Properz." Göttingen : Cuvillier, 2001. http://catalog.hathitrust.org/api/volumes/oclc/49924799.html.
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Teich, Lars. "Synthese von Emodin-Derivaten mit cytostatischer Wirkung /." 2004. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=014604373&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
Повний текст джерелаКниги з теми "EMOLIS App"
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Testa, Maggie. Gene's Epic App-Venture! (Emoji Movie). Simon & Schuster Children's Publishing, 2017.
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Scotton Corcorane Theodore James wimpy. Can You Guess the App by Emoji !- E: Moji Quiz - Emoji Challenge #2. Independently Published, 2021.
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Rogers, Ken. Using Snapchat Guide to App, Filters, Emoji, Lenses, Font, Streaks, and More! Lulu Press, Inc., 2018.
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Yusoff, Rushami Zien, Kamarulzaman Md Ali, Mohd Suan Madon, and Azran Mohamad. Sistem pengurusan kualiti MS ISO 9000 dalam pendidikan konsep & aplikasi di sekolah. UUM Press, 1999. http://dx.doi.org/10.32890/9839559648.
Повний текст джерелаАнотація:
Pendidikan di Malaysia adalah satu usaha berterusan ke arah memperkembangkan potensi individu secara menyeluruh dan bersepadu untuk mewujudkan insan yang seimbang dan harmonis dari segi Jasmani, Emosi, Rohani dan Intelek (JERI). Kajian yang mendalam berkaitan kualiti dalam pendidikan telah dilaksanakan supaya terbentuknya satu sistem pengurusan yang berkualiti di sekolah. Penghasilan kepada kajian ini di trial run kepada dua buah sekolah dan telah pun mendapat pengiktirafan Persijilan MS ISO 9002 pada tahun 1997 dari pihak SIRIM. Buku ini mengandungi pendekatan bersepadu dan direkabentuk sebegitu rupa supaya bersifat generic dan boleh diaplikasikan di sekolah-sekolah seluruh Malaysia. Penggunaan buku ini juga dapat membantu pelaksanaan sistem pengurusan kualiti di sekolah-sekolah dengan kos dan masa yang menjimatkan disamping penggunaan tenaga manusia yang minimum.
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Runcan, Patricia. Călătoria vieții. Volum 1. Editura de Vest, 2022. http://dx.doi.org/10.51820/autentic.2022.vol.1.
Повний текст джерелаАнотація:
"DESCRIERE CĂLĂTORIA VIEȚII. Volumul 1 din seria AUTENTIC Cartea intitulată Călătoria vieții, este atent structurată în trei părți. Volumul face parte din seria AUTENTIC coordonată de doamna conf. univ. dr. abilitat, Patricia Runcan și vine în completarea volumelor anterioare, păstrând atât standardele de calitate academice, cât și latura emoțională și autenticitatea. Autorii – profesioniști, medici, cadre didactice din învățământul primar și universitar, experți contabili, preoți, pastori, persoane competente cu o vastă experiență de viață și profesională, precum și studenți și masteranzi sub coordonarea doamnei Patricia Runcan – au scris lucrări în care vedem originalitate și profesionalism. Fiecare lucrare poartă o amprentă personală unică, dar putem regăsi și acel fir roșu care aduce armonie și autenticitate în toate lucrările. Partea întâi a cărții cuprinde șase „interviuri cu profesioniști și oameni autentici” – un preot conferențiar universitar doctor care ne vorbește despre cum putem trăi într-un mod autentic bucuria; un medic profesor universitar doctor prin intermediul căruia descoperim faptul că munca, deși epuizantă, poate face viața mai fericită; un profesor universitar doctor care ne poartă prin călătoria vieții pe covorul lui Aladin; un pastor care ne ajută să înțelegem mai bine faptul că ce este mai frumos urmează cu Dumnezeu; un pastor senior doctor care, prin experiența sa de viață și profesională, ne ajută să descoperim viața autentică; și o doamnă bibliotecar care ne încurajează să îndrăznim să trăim cu semnificație. Fiecare interviu este o lecție de viață care ne îmbogățește, deoarece respondenții și-au deschis inimile și ne-au lăsat să pătrundem în universul lor descriindu-ne, cu sinceritate și mare emoție, o parte relevantă din viețile lor. Partea a doua a cărții conține unsprezece „minieseuri descriptive” care abordează diverse teme de interes pentru fiecare dintre noi, deoarece firul roșu care face legătura între aceste eseuri reprezintă o parte anume din călătoria vieții autorilor. Eseurile sunt scrise de: un medic care prezintă modul în care percepe călătoria vieții fără bagaje; un lector universitar doctor alături de care descoperim cum ne poate „salva” lectura sau ce rămâne din povestea vieții noastre; un expert contabil care, prin intermediul experiențelor personale, a ajuns la uimitoarea concluzie că totul în viață se întâmplă cu un scop; un mentor care relatează de ce este important ca înainte de a înfăptui ceva, să fim ceva; un profesor care, în călătoria vieții sale, a învățat faptul că dragostea rezidește dărâmăturile; o studentă care, printr-o descriere matură, reliefează faptul că în călătoria vieții inevitabil descoperim că viața este fie pisc și vale, fie urcuș și coborâș; o studentă care a înțeles de timpuriu cât este de importantă cunoașterea de sine; un mentor care ne lasă să pătrundem într-o zonă sensibilă a vieții sale și descrie cum percepe, personal, cerul de dincolo de lume; un student masterand vorbește, din trăirea personală, despre perla suferinței… reversibilitatea; o studentă descrie călătoria vieții ca fiind trăită autentic pentru Hristos; și, nu în ultimul rând, de o studentă care descrie iubirea ca un fir roșu între inimile a două persoane. Partea a treia prezintă șase eseuri, șase „abordări teoretice și practice – cercetări academice aplicate” ale tematicii privind călătoria vieții. Cele șase eseuri abordează: importanța autocunoașterii (Drumul către tine însuți: există viață după ieșirea din cocon – Gabriela Povian & Patricia Runcan); importanța vieții (Valoarea vieții umane din perspectivă bioetică – Stela Spînu); importanța recunoștinței (Recunoștința: valențele recunoștinței în călătoria vieții – Loredana Marcela Trancă); relevanța comunicării (Comunicarea: cheia unei vieți fericite și împlinite în căsnicie – Ioan Albescu); călătoria vieții (Călătoria – metaforă a vieții pe pământ – Lavinia-Estera-Cristina Mihai Krauzer); etapele vieții (Anotimpurile vieții – Patricia Runcan). Volumul este destinat unui grup larg de interes profesional: studenți, cadre didactice, profesioniști din domeniul social, consilieri și alte persoane cointeresate de tematica abordată având în vedere originalitatea, noutatea și autenticitatea informațiilor furnizate. Lectura cărții duce cititorul spre o călătorie imaginară alături de personaje reale și de povești reale de viață. Sfaturile prețioase de viață bazate atât pe experiența personală a autorilor, cât și pe cercetările academice au, în conținutul lor, și citate sau idei preluate de la alți autori de renume, ceea ce aduce o și mai mare bogăție de informații utile pentru cititor. "
Частини книг з теми "EMOLIS App"
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Droz-dit-Busset, Olivia, and Tereza Spilioti. "Chapter 11. “Getting personal with you”." In Pragmatics & Beyond New Series, 278–301. Amsterdam: John Benjamins Publishing Company, 2024. http://dx.doi.org/10.1075/pbns.349.11dro.
Повний текст джерелаАнотація:
Since the Middle Ages, confession has been one of the ‘most highly valued techniques for producing truth’ (Foucault 1978). While confessional monologues have been researched in reality TV discourse (Lorenzo-Dus 2009; Tolson 2006), the communicative potential of confessional talk for Social Media Influencers has been largely underexplored. This chapter aims to fill this gap by exploring confession as a distinct genre in the communicative repertoire of lifestyle and beauty YouTubers. In this regard, we first map this genre in terms of its key themes, formal features and media production choices. Drawing on Giaxoglou’s (2021) notion of affective positioning, we also examine how the influencers and their audiences are affectively positioned in the discourse of confessional videos through the deployment of verbal, non-verbal, as well as other material (camera) and graphic (emojis) resources. We conclude this chapter by demonstrating how this type of positioning intersects with the production of an authentic selfhood on YouTube.
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Wiese, Heike, and Annika Labrenz. "Chapter 10. Emoji as graphic discourse markers." In Pragmatics & Beyond New Series, 277–300. Amsterdam: John Benjamins Publishing Company, 2021. http://dx.doi.org/10.1075/pbns.325.10wie.
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Hodis, Eran, Jaime Prilusky, and Joel L. Sussman. "Tools to Make 3D Structural Data More Comprehensible: Emovie & Proteopedia." In NATO Science for Peace and Security Series A: Chemistry and Biology, 169–82. Dordrecht: Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-90-481-2339-1_11.
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Duguay, Stefanie. "Queering Tinderella." In Personal but Not Private, 32–54. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190076184.003.0002.
Повний текст джерелаАнотація:
Abstract This chapter examines how queer women respond to Tinder’s automated creation of user profiles involving highly personally identifiable information from Facebook. Although Tinder imports individuals’ names, photos, and other information, the app lacks fields or features relating to sexual identity and user intention, while catering to a large heterosexual user base. In turn, many of the women interviewed increased the salience of sexual identity in their profiles in order to dissuade heterosexual men, women, and couples from approaching them through the app. They added indicators of sexual identity in the form of photos, emoji, and media references, which helped them to connect with other queer women but also required management in relation to the app’s location-based audiences. Queer women’s repeated and often stereotyped representations of sexual identity drew some boundaries of exclusion, requiring users to display literacy pertaining to digital technologies and sexual cultures, but also aided trust building among matches.
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Clemente Miriam, Rodríguez Alejandro, Rey Beatriz, and Alcañiz Mariano. "Measuring Presence During the Navigation In a Virtual Environment Using EEG." In Studies in Health Technology and Informatics. IOS Press, 2013. https://doi.org/10.3233/978-1-61499-282-0-136.
Повний текст джерелаАнотація:
In the Virtual Reality field, presence refers to the sense of “being there” in the virtual world. Our aim in this work is to evaluate the usefulness of the Emotiv EPOC EEG device to measure the brain activations due to the sense of presence during the navigation in a Virtual Environment (VE), using for the analysis the sLORETA tool. We compare between two experimental conditions: free and automatic navigation through a VE. In this preliminary step, we monitored 9 healthy subjects, obtaining significant differences between the free and automatic navigation conditions in the activity of the right insula for the Theta and Alpha bands. The insula activation is related to stimulus attention and selfawareness processes, directly related with the sense of presence.
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Toupin, Gabrielle, Mohamed S. Benlamine, and Claude Frasson. "Prediction of Amusement Intensity Based on Brain Activity." In Frontiers in Artificial Intelligence and Applications. IOS Press, 2021. http://dx.doi.org/10.3233/faia210099.
Повний текст джерелаАнотація:
Amusement can help modulate psychological disorders and cognitive functions. Unfortunately, algorithms classifying emotions still combine multiple positive emotions into a unique emotion, namely joy, making it hard to use amusement in a real-life setting. Here we train a Long-Short-Term-Memory (LSTM) on electroencephalography (EEG) to predict amusement on a categorical scale. Participants (n=10) watched and rated 120 videos with various funniness levels while their brain activity was recorded with an Emotiv Headset. Participant’s ratings were divided into four bins of amusement (low, medium, high & very high) based on the participant’s ranking’s percentile. Nested cross-validation was used to validate the models. We first left out one video from each participant for the final model’s validation and a leave-one-group-out technique was used to test the model on an unseen participant during the training phase. The nested cross-validation was tested on sixteen different videos. We created an LSTM model with five hidden layers, vatch size of 256 and an input layer of 14 x 128 (number of electrodes x 1 sec of recording) and four nodes representing the different levels of amusement. The best model obtained during the training phase was tested on the unseen video. While the level of accuracy between the validation videos varies slightly (mean=57.3%, std=13.7%), our best model obtained an accuracy of 82,4%. This high accuracy supports the use of brain activity to predict amusement. Moreover, the validation process we design conveys that models using this technique are transferable across participants and videos.
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Vamvakousis Zacharias and Ramirez Rafael. "A High-Throughput Auditory P300 Interface for Everyone." In Assistive Technology Research Series. IOS Press, 2013. https://doi.org/10.3233/978-1-61499-304-9-478.
Повний текст джерелаАнотація:
Brain Computer Interfaces (BCIs) might be the only communication resort for patients with Locked In Syndrome (LIS). Auditory-P300-based interfaces might provide an communication alternative to such patients. In this study we evaluate in an on-line setting the Emotiv's Epoc performance for capturing auditory P300s. Five healthy subjects (3 male, 2 female) participated in an on-line multi-class auditory oddball paradigm. The stimuli set consisted of six musical instruments sounds, different in pitch and stereo spatialization. Two different conditions of 300 ms and 175 ms Inter Stimuli Interval (ISI) were tested. In each condition, the training data consisted of 10 sub-trial recordings, each sub-trial consisting of 25 repetitions in the 175 ms condition and of 15 ms in the 300m s condition. At the beginning of each sub-trial a target sound was presented for the subjects to focus on. Each repetition consisted of a randomized sequence of 6 stimuli appearing once each. After training a spatial filter using xDawn unsupervised algorithm and a linear discriminant analysis (LDA) classifier on a window from 250 ms to 750 ms after the stimuli presentation, the average on-line performance was 97,5% in the 175 ms condition and 90% in the 300 ms condition, resulting in an average information transfer rate (ITR) of 5.39 bits/min -in the 175 ms condition-. The average ITR is found to be 8.88 bits/min when taking into account the minimum number of repetitions is to achieve 70% accuracy, while the best performance was 9.99 bits/min.
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MAGDA DE MIRANDA, ALESSANDRA, LETÍCIA PAULO DE OLIVEIRA, VITÓRIA SILVA SOUZA, and TATIANA FERNANDES SANT ANA. "PRODUÇÃO TEXTUAL NO LIVRO DIDÁTICO: UMA ANÁLISE À LUZ DO INTERACIONISMO SOCIODISCURSIVO (ISD)." In Ensino de línguas (Vol 02). Editora Realize, 2024. http://dx.doi.org/10.46943/ix.conedu.2023.gt15.008.
Повний текст джерелаАнотація:
A produção textual é uma habilidade fundamental no processo de ensino-aprendizagem, pois permite que os estudantes articulem suas ideias de maneira coerente em diferentes contextos comunicativos. Paralelo a esta compreensão, está o fato de o ensino da escrita constituir-se, ao mesmo tempo, como uma atividade desafiadora e um campo de investigação promissor. Neste cenário, o livro didático (LD) figura como um dos principais recursos que os professores dispõem como auxílio pedagógico, o que justifica sua extensiva utilização em sala de aula. Neste contexto, partindo de uma experiência de trabalho com o LD, enquanto suporte para o ensino de escrita, proporcionada no âmbito da Residência Pedagógica de Língua Portuguesa – UEPB – Campus I, propor-nos-emos, nesta pesquisa, a analisar a abordagem de produção textual, na coleção “Se liga na língua: Leitura, produção de texto e linguagem”, 9º ano, da Editora Moderna, à luz dos princípios teórico-metodológicos do Interacionismo Sociodiscursivo (ISD). Especificamente, iremos observar a concepção de escrita que subjaz ao trabalho com a produção textual e investigar se/como as capacidades de linguagem são contempladas nessas atividades. Para tanto, elegemos como procedimento metodológico a pesquisa qualitativa de natureza interpretativista e de base documental. Utilizaremos como sustentação teórica as contribuições de Bronckart (2009), Schneuwly & Dolz (2004), entre outros. Notadamente, a edição examinada concebe a produção textual como uma atividade processual, ao estruturar atividades tanto que antecedem o momento da escrita, como também que possibilitam, mesmo que de modo simplório, os momentos de revisão e reescrita. O diálogo gerado indicou que uso adequado do LD, associado a teorias que monitoram a produção textual, é um suporte importante para o professor, que, se empregado junto com outras estratégias pedagógicas, pode para enriquecer a experiência leitora e fomentar a reflexão crítica sobre as produções textuais.
Тези доповідей конференцій з теми "EMOLIS App"
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Bai, Xingyue, Liqun Liu, and Wei Lv. "The Impact of Platform Varieties on Emoji Usage: Based on Mixed Research Methods." In 2024 International Conference on Culture-Oriented Science & Technology (CoST), 190–95. IEEE, 2024. http://dx.doi.org/10.1109/cost64302.2024.00045.
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Kupershtein, Ethan, Yulia Kumar, Anjana Manikandan, Patricia Morreale, and J. Jenny Li. "ChatGPT as a Game-Changer for Embedding Emojis in Faculty Feedback." In 2023 Congress in Computer Science, Computer Engineering, & Applied Computing (CSCE). IEEE, 2023. http://dx.doi.org/10.1109/csce60160.2023.00173.
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Khandekar, Sujay, Joseph Higg, Yuanzhe Bian, Chae Won Ryu, Jerry O. Talton Iii, and Ranjitha Kumar. "Opico: A Study of Emoji-first Communication in a Mobile Social App." In WWW '19: The Web Conference. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3308560.3316547.
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Pierce, James, and Carl DiSalvo. "Dark Clouds, Io&#!+, and [Crystal Ball Emoji]." In DIS '17: Designing Interactive Systems Conference 2017. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3064663.3064795.
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Wang, Yongfu, Jacklyn Cui, and Tiffany Y. Tang. "Position Paper: An Emoji-Based Interactive App to Aid Emotion Expression for Autistic Children." In UbiComp '24: The 2024 ACM International Joint Conference on Pervasive and Ubiquitous Computing, 706–8. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3675094.3678478.
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Chaisuparat, Risa, Mark A. Scheper, and Pasutha Thunyakitpisal. "Abstract 5653: Thein vitroeffects of aloe-emodin on head and neck squamous cell carcinoma." In Proceedings: AACR 101st Annual Meeting 2010‐‐ Apr 17‐21, 2010; Washington, DC. American Association for Cancer Research, 2010. http://dx.doi.org/10.1158/1538-7445.am10-5653.
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Fu, Liwu, Lisheng Zheng, and Yan-yan Yan. "Abstract 4400: Blockade of Her2 binding to Hsp90 by emodin azide methyl anthraquinone derivative induces proteasomal degradation of Her2." In Proceedings: AACR 102nd Annual Meeting 2011‐‐ Apr 2‐6, 2011; Orlando, FL. American Association for Cancer Research, 2011. http://dx.doi.org/10.1158/1538-7445.am2011-4400.
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Maas, Toon, Mohamad Tuffaha, and Laurent Ney. "Footbridges as an important part of a system: the context as an experience." In Footbridge 2022 (Madrid): Creating Experience. Madrid, Spain: Asociación Española de Ingeniería Estructural, 2021. http://dx.doi.org/10.24904/footbridge2022.227.
Повний текст джерелаАнотація:
<p>“A bridge has to be designed”. Every bridge is the exploration of all degrees of a freedom of a project: the context, cultural processes, technology, engineering and industrial skills. A successful bridge aims to dialogue with these degrees of freedom to achieve a delicate equilibrium, one that invites the participation of its users and emotes new perceptions for its viewers. In short, a good design “makes the bridge talk.”</p><p>Too often, the bridge, as an object, is reduced to its functionality. Matters of perceptions and experiences of the users are often not considered in the design process; they are relegated to levels of chance or treated as simple decorative matter. The longevity of infrastructure projects, in general, and bridges, in particular, highlights the deficiencies of such an approach. The framework to design bridges must include historical, cultural, and experiential dimensions. Technology and engineering are of paramount importance but cannot be considered as “an end in themselves but a means to an end”. This paper proposes to discuss three projects by Ney & Partners that illustrate such a comprehensive exploration approach to footbridge design: the Poissy and Albi crossings and the Tintagel footbridge.</p><p>The footbridges of Poissy and Albi dialogue most clearly with their historical contexts, reconfiguring the relationship between old and new in the materiality and typology use. In Tintagel, legend replaces history. Becoming a metaphor for the void it crosses, the Tintagel footbridge illustrates the delicate dialogue of technology and engineering on one side and imagination and experience on the other.</p>
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Shanmugam, Muthu K., Tina H. Ong, Rajendran Peramaiyan, Aruljothi Subramaniam, Kam M. Hui, and Gautam Sethi. "Abstract 2813: Modulation of Signal Transducer and Activator of Transcription 3 by emodin through the induction of a phosphatase leads to the suppression of HCC growth in orthotopic mouse model." In Proceedings: AACR 103rd Annual Meeting 2012‐‐ Mar 31‐Apr 4, 2012; Chicago, IL. American Association for Cancer Research, 2012. http://dx.doi.org/10.1158/1538-7445.am2012-2813.
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Rocha, Luciana Sandrini, Tatiane Brisolara Nogueira, Luísa de Azevedo dos Santos, and Márcia Rodrigues Notare. "Recursos de RV, RM e FD associados ao BIM na formação de técnicos em Edificações." In IV ENCONTRO NACIONAL SOBRE O ENSINO DE BIM. ANTAC, 2022. http://dx.doi.org/10.46421/enebim.v4i00.1921.
Повний текст джерелаАнотація:
O sistema BIM constitui uma quebra de paradigma no campo da arquitetura, engenharia e construção (AEC), e o desenvolvimento de recursos em realidade virtual (RV), mista (RM) e de fabricação digital (FD) incrementaram suas possibilidades de aplicação. Apesar das potencialidades, a implementação em meio acadêmico, seja no âmbito do nível superior ou do ensino médio profissionalizante, vem ocorrendo lentamente (BENEDETTO et al., 2017; SILVA, 2021). Desse modo, a incorporação curricular do BIM nos cursos técnicos em edificações dos Institutos Federais (IFs) ainda constitui um desafio. Há poucos dados sobre o tema, porém Silva (2021), que realizou estudo sobre a implementação do BIM nos cursos dos IFs do Nordeste, apontou que dentre os 36 projetos pedagógicos de curso (PPCs) disponíveis para consulta pública, apenas sete utilizam o BIM e especificamente no ensino de projeto de arquitetura, o que indica ainda ser um estágio inicial. Além de uma possível desatualização dos PPCs, a pesquisadora indica como possíveis causas a falta de capacitação de professores e mesmo a resistência, por parte de alguns deles, em adotar a tecnologia BIM nos processos de ensino e aprendizagem.
Este trabalho apresenta um estudo piloto para a implementação da tecnologia BIM no curso técnico de edificações, onde foram associados recursos de RV, RM e FD. O objetivo de incorporar as referidas tecnologias foi potencializar o desenvolvimento do raciocínio espacial a partir dos recursos de visualização aprimorados que elas proporcionam, bem como pela necessidade de implementação do BIM no referido curso. Pedagogicamente, apoia-se sobre os conceitos de construção do espaço (PIAGET e INHELDER, 1993) e de abstrações reflexionantes (PIAGET, 1995). Neste contexto, entende-se que o desenvolvimento do raciocínio ocorre pela interação do indivíduo com o meio, o que nesta pesquisa se caracteriza por atividades que ocorrem no meio digital e também no meio físico. As atividades propostas foram organizadas de acordo com o continuum da realidade-virtualidade proposto por Milgram e Colquhoun (1999). A experiência ocorreu como um projeto de ensino destinado aos estudantes do quinto semestre do curso integrado, com um total de 12 participantes e 60 horas-aula, entre os meses de fevereiro e abril de 2022. As atividades, que tinham como um de seus objetivos evidenciar o caráter do projeto de arquitetura como meio de comunicação entre os envolvidos em uma obra, simularam etapas da construção. Desse modo, na primeira etapa seis duplas de alunos formaram equipes de projeto e cada uma deveria modelar utilizando o software Revit, um dos dois projetos de residência unifamiliar selecionados previamente pelos professores. Cada projeto foi modelado por três duplas. Ainda que a atividade de modelagem fosse individual, para que eles experimentassem as ferramentas, as duplas deveriam auxiliar-se nesta etapa. Na segunda etapa as duplas trocaram projetos entre si e formaram equipes de planejamento, com a tarefa de extrair informações qualiquantitativas dos projetos modelados pelos colegas. Esta etapa, além de enfatizar o caráter informacional dos modelos BIM, teve como objetivo compreender se os estudantes seriam capazes de interpretar corretamente um projeto de outrem. Uma reunião virtual feita a partir da ferramenta Augin Hub auxiliou-os nessa tarefa. Eles também experimentaram um passeio virtual em RA com o Augin App. Na terceira e última etapa, os estudantes constituíram equipes de execução, na qual deveriam planificar e montar um modelo físico de seus projetos em MDF, na escala 1/50, cortado na cortadora laser CNC (computer numeric control). As etapas assim descritas evidenciam a intenção de que as atividades provocassem interações com os modelos digitais, impelindo os estudantes a construir e desconstruir os modelos, geométrica e informacionalmente. As referidas tecnologias foram escolhidas por oferecerem recursos de visualização aprimorados e diferenciados entre si, com o objetivo de testar quais as mais adequadas para desencadear processos de abstrações reflexionantes nos estudantes. A coleta de dados incluiu a observação dos encontros, bem como entrevistas semiestruturadas feitas com os participantes e análise dos modelos tridimensionais e documentos técnicos produzidos por eles.
A experiência apresentou resultados positivos em relação ao objetivo de implementar e avaliar um conjunto de atividades pedagógicas dirigidas ao desenvolvimento do raciocínio espacial no âmbito do curso técnico em edificações. Os estudantes se mostraram engajados, familiarizando-se com as ferramentas e desenvolvendo processos de apropriação do espaço digital em patamares diversos. Destaca-se a experiência na reunião virtual com Augin Hub. Mesmo com alguns problemas técnicos em função dos equipamentos e conexão de internet dos estudantes, a experiência proporcionou passeios virtuais em primeira pessoa, com visão de drone ou avatar, interação por áudio, chat e emojis. Além de ser considerada a mais interessante pelos estudantes, eles interagiram respondendo corretamente às perguntas a respeito de materiais e detalhes construtivos dos projetos que receberam na etapa de planejamento. Além disso, a corporificação do avatar introduziu a escala humana no modelo, fazendo com que os estudantes percebessem melhor a proporção entre os espaços construídos, mobiliário e circulações. Outros estudos, como Birt E Vasilevski (2021), já apontaram para a importância de avatares corporificados no senso de presença em ambientes virtuais. No Revit, recursos como a caixa de corte, explodir e a criação de vistas 3D renderizadas (panorâmicas ou 360 graus) foram apontadas pelos estudantes como as mais interessantes. A experiência com RA foi considerada adequada para apresentação de projetos a clientes ou discussão entre membros da equipe de execução de uma obra, mas as pesquisadoras consideram que a experiência mereça ser reformulada para que os resultados sejam mais efetivos. A execução da maquete foi considerada positiva por dois motivos principais: do ponto de vista cognitivo, o exercício da planificação parece ter provocado assimilações, exigindo que eles “desconstruíssem” os modelos. Por outro lado, estabeleceu uma conexão entre o ambiente virtual e o espaço concreto, o que foi considerado útil pelos estudantes, motivando-os a executar a atividade. A experiência conquistada a partir do estudo piloto também contribuiu para a introdução curricular do BIM no referido curso, que foi uma das motivações iniciais para esta pesquisa.