Готові списки джерел за темами / Visual Dialogue

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Добірка наукової літератури з теми "Visual Dialogue"

Автор: Grafiati

Опубліковано: 11 березня 2023

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Статті в журналах з теми "Visual Dialogue"

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

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Siegel, J., and D. Szafron. "Dialogue patterns—A visual language for dynamic dialogue." Journal of Visual Languages & Computing 20, no. 3 (June 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 (December 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, and Roswita Dressler. "Visual Aids as Response Facilitators in Dialogue Journals." Language and Literacy 20, no. 2 (May 23, 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, and Weijian Ruan. "Transformer-Based Multimodal Infusion Dialogue Systems." Electronics 11, no. 20 (October 20, 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, and Mohit Bansal. "Modality-Balanced Models for Visual Dialogue." Proceedings of the AAAI Conference on Artificial Intelligence 34, no. 05 (April 3, 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 (July 23, 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, and 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, and 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 (April 3, 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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Дисертації з теми "Visual Dialogue"

Worley, Taylor. "Theology and contemporary visual art : making dialogue possible." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/940.

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Within the field of theological aesthetics, this project assesses the divide between theological accounts of art and the re-emergence of religious imagery in modern and contemporary art. More specifically, American Protestant theologians and their accounts of visual art will be taken up as a representative set of contemporary theological inquiry in the arts. Under this category, evaluation will be made of three diverse traditions in American Protestant thought: Paul Tillich and Liberal Protestantism, Francis Schaeffer and the Neo-Calvinists, and the open evangelical accounts of Nicholas Wolterstorff and William Dyrness. With respect to modern and contemporary visual art, this evaluation judges the degree to which theologians have understood the primary concepts and dominant narratives of various modernisms and postmodernisms of art since the end of the nineteenth century, recognised the watershed moments in the lineage of the twentieth century avant-garde, and acknowledged the influence of critical theory not only upon the contemporary discourse in aesthetics and art production but also in the social reception of art. In tracing the re-emergence of religious imagery in modern and contemporary art, this project takes up three diverse traditions: the Crucifixions of Francis Bacon and the memento mori art of Damien Hirst, the ‘re-enchantment’ of art in the work of Joseph Beuys, and the art of ‘False Blasphemy’ associated with lapsed Catholics like Rober Gober and Andres Serrano. By assessing what theologians have written concerning visual art and the surprising return of certain religious imagery in modern and contemporary art, this study will intimate a new way forward in a mutually beneficial dialogue for art and religious belief.

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Eriksson, Malin Ida. "In Dialogue with Clay." Thesis, Konstfack, Keramik & Glas, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7227.

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This paper is about my relationship to the material clay, and how it has affected my creative process. In this text I argue that clay is a material with human properties. I think of my practice as a dialogue between me and the material, an exchange rather than a monologue. This is how I picture clay as my main partner for discussing the deeper questions of what it is to be human, how clay as material can stand as metaphor for what it is to be living. I argue that clay has the poetic strength to communicate these questions of life of a more existential nature. Through the argument of clay being a material with human properties, I reason that a practice in materiality is a study of empathy since we spend much time with our materials to fully grasp how they behave. I firmly believe that this world is in need of an empathic movement, and I think that the field of craft has the possibility to be part of that movement. I see practitioners within the field of craft as practitioners of the sometimes irrational, emotional and indescribable parts of life. As researchers of the more existential qualities of life, I believe that we are important voices in a society that is getting more focused on rationality. With some help from writers, practitioners and philosophers within and outside the field of craft, I reason around the following research question: Can a material based practice stand as lodestar in todays society, to show empathy towards each other as beings as well as our surroundings?

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Aljebreen, Fahad Mohammad. "A Narrative Study about the Transformative Visual Cultural Dialogue beyond Women's Veils." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862731/.

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In this narrative study, I explore the transformative visual cultural dialogue behind the sight of the veil or veiled women in Denton, Texas as a Western culture. The narrative is constructed from the experiences of three Western non-Muslim women participants who wore the veil publicly in the Dallas-Fort Worth area, especially Denton, Texas, for about two weeks, in the spring of 2014. The main question for this study is: How do veiled Western women incite transformative visual cultural dialogue and ideas concerning veiled women? To gather rich data to answer the study's question, I utilized qualitative narrative inquiry to explore the transformative dialogue that the veil, as a visual culture object, can incite in non-Muslim Western women's narratives. The study involves three participants who are non-Muslim American women who voluntarily wore the veil in public and recorded their own and other's reactions. The participants' interviews and diaries demonstrated that the veil incited a particular perceptive dialogue and often transferred negative meanings. For example, the sight of the veil suggested the notion of being Muslim, and consequently, the ideas of not belonging. The reactions the participants received were either negative verbal interactions or physical ones, both of which are limited in this study to face gestures or some form of negative body language that is meant to be a message of disliking. In summation, this study shows that the women's veil is a visual culture symbol that transfers negative meaning in the DFW area in Texas.

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Alexander, Loris, and na. "Visual art dialogue in personal psychological learning a private journey with public relevance." Swinburne University of Technology, 2006. http://adt.lib.swin.edu.au./public/adt-VSWT20061006.153107.

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Understanding and managing emotion in psychological therapy is a complex and challenging problem for practitioners and clients. The traditional emphasis on verbal language as the mediating process in therapy is expanding with the inclusion of multimodal creative arts, based on visual, auditory, and kinaesthetic perceptions, to better support the reaccessing of emotion. This can be followed recursively by the use of words to develop narrative and meaning. The main research emphasis in this thesis was on visual art. Studies of other art forms may follow. Philosophical understanding, neuroscience advances and developments in psychological therapy underpin and explain this therapeutic expansion. A qualitative research approach is taken, engaging several different actions from within that research paradigm. The thesis is written as a metaphorical journey and conveys the experience of art dialogue and the experience of researching, as parallel stories. Psychological learning journeys undertaken by its author and a colleague, some clients, therapists and teachers, are described in three encounters. The first encounter explored visual art dialogue as a process addition to a developing experiential phenomenological approach using multimodal creative arts (The MIECAT Process � Lett 2001). The objective was for the colleagues to experience a lengthy creative arts sequence, developing and undertaking the process of visual art dialogue. Multilevel actions and outcomes were recorded throughout the collegial engagement. The collegial encounter required that the co-researchers pursue their own personal psychological meanings and report on their experience of the process. Personal narrative meanings exposed in exploring visual art dialogue, are not discussed, the emphasis being on confirming how actions occurred and their effectiveness for application. Actions stopped where direct verbal therapeutic engagement might occur. Following collegial experience, visual art dialogue was used with clients and other therapists and teachers, to question its broader relevance. The second inquiry, involving three clients of the author, asked how the process would support professional actions in a therapeutic situation. The third encounter engaged other therapists and teachers to expand on questions of by whom and how, art dialogue could be used. Psychological therapy theory suggests process location within a humanistic framework, in an eclectic focus or supporting the development of an experiential, phenomenological psychology process approach based on the known functions of mind and body. The associated personal and professional aspects of the experience of process exploration constituted a step in authorial understanding and may contribute to increasing knowledge of the creative arts applied to psychological therapy.

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Alexander, Loris. "Visual art dialogue in personal psychological learning a private journey with public relevance /." Australasian Digital Theses Program, 2006. http://adt.lib.swin.edu.au/public/adt-VSWT20061006.153107/index.html.

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Thesis (PhD) - Swinburne University of Technology, 2006.
Submitted in completion of the degree of Doctor of Philosophy, Swinburne University of Technology - 2006. Typescript. Includes bibliographical references.

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Webb, Julie Marie. "Dialogue During Team Problem Solving Using Visual Representation Boundary Objects: A Case Study." Scholarly Commons, 2019. https://scholarlycommons.pacific.edu/uop_etds/3648.

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Organizations benefit from the knowledge held by individual members as well as knowledge that is shared among those members. In order for knowledge to co-develop between members, and to spread, organizations must provide opportunities for members to collaborate. Organizational teams sometimes require assistance with interpersonal communication, establishing consensus, and sharing knowledge when collaborating. Group facilitators can offer guidance and intervene when teams need support. In addition, teams can find support through the use of visual representation boundary objects (VRBOs) to build trust, improve communication, increase cooperation, and share ideas. This study explores how knowledge is shared between team members and uncovers the importance of social interaction during the co-development of shared knowledge. The role that group facilitators play in team collaboration is highlighted. The results of the study indicate that a positive relationship exists between the use of a VRBO and the development of shared knowledge amongst a team. Patterns emerged from the findings that reveal a structure to the team’s collective meaning making that constitutes an underlying theory of action. The author examines the benefits of using VRBOs for teams and organizations including improved collaboration and communication.

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Webb, Julie M. "Dialogue During Team Problem Solving Using Visual Representation Boundary Objects: A Case Study." Scholarly Commons, 2020. https://scholarlycommons.pacific.edu/uop_etds/3707.

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Chotpradit, Thanavi. "Revolution versus Counter-Revolution : the People's Party and the Royalist(s) in visual dialogue." Thesis, Birkbeck (University of London), 2016. http://bbktheses.da.ulcc.ac.uk/180/.

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The People’s Party (Khana ratsadon) or the monarchy: which one is the true begetter of Thai democracy? The people or the King: who possesses sovereign power in Thailand? The thesis Revolution versus Counter-Revolution: The People’s Party and the Royalist(s) in Visual Dialogue explores these core questions of Thai politics through an examination of the dynamism of the People’s Party’s visual culture. Under a royalist hegemony, started in 1947, the People’s Party’s arts and cultural artefacts have been recast as foreign and tasteless. This thesis argues that this royalist accusation highlights the profound significance of the revolutionary visual culture. In fact the People’s Party’s memorials, monuments, architecture and artwork are deeply embedded within a struggle for political legitimisation. They are “sites of memory”, or lieux de mémoire, that take on a performative role in the rivalry between the two ideologies: constitutionalism/democracy and royalism. Between 1932 and 2010 through a series of political incidents they have undergone a series of transformations both in the way they are interpreted and the cultural memory associated with them. This thesis intends to unravel the complexity and web of associations between these cultural icons, political ideologies, class struggle and memory politics.

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Bueno, Delgado Patricia. "Towards a professional learning dialogue in Mexican contemporary art museums." Thesis, City, University of London, 2014. http://openaccess.city.ac.uk/17618/.

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Dialogue is a tool that can be used to promote learning experiences amongst audiences in contemporary art museums, in particular due to the potential difficulty of interpreting this type of art. This study argues that when dialogue between the museum and audience promotes balanced opportunities to express ideas and information, the museum can also learn. The museum can share the learning findings about audiences with the rest of the staff members through a professional dialogue, which may impact, creating positive change on future museum practice, in order to facilitate exhibitions, programmes and activities better targeted to audiences. The research explores the concept of learning dialogue using interviews, content analysis, and a theoretical framework related to learning and dialogue in museums. The study also analyses the role of learning and education, and their context in contemporary art museum practice in Mexico, using critical texts and practical evidence from interviews with educators, curators and directors. The thesis investigates, in particular, the case study of the Enlaces programme at the University Museum of Contemporary Art (MuAC). This is a learning activity where the Enlaces participants, who are university students, receive training about the specialist knowledge required to understand contemporary art. The participants aim to create further dialogue with audiences with the purpose of provoking questions, reflection and understanding of MuAC’s contemporary artworks and exhibitions. Findings from the Enlaces participants’ interviews reveal a learning dialogue with audiences, resulting in a model that considers the interaction of three categories of dialogue: visual internal, content and participatory dialogues. Furthermore, the research demonstrates that the interactions between the Enlaces participants and MuAC staff stimulate peer dialogue, professional dialogue and limited dialogue. The analysis of findings results in a model for professional learning dialogue based on the interaction between three key areas: communication, recognition and teamwork. The research proposes an optimal scenario where there is professional and audience learning dialogue taking place, these then feedback to the museum cyclically, allowing audiences to contribute and influence the organisation.

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Brown, Storm Jade. "Art, outrage, dialogue: a McLuhan reading of three visual communicative practices in Cape Town public space." Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/22031.

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This mini-dissertation places a specific focus on the City of Cape Town and considers the space between aesthetics, commercial interest and social relevance in public visual communication practices. Instead of making a general statement or providing a value judgement, this research examines the nature of the debate surrounding public artistic practices by referring to three main artists; namely Michael Elion, The Tokolos Stencil Collective and Freddy Sam. The basis of the discussion is centred around the recent controversy surrounding Michael Elion's Sea Point public art sculpture, Perceiving Freedom (2014) and the respective questions it raised about what public space means, who has the right to represent themselves, and what that looks like. By drawing a comparison with Perceiving Freedom (2014) to the visual communicative practices of Freddy Sam and The Tokolos Stencil Collective, this research examines the progression of the debate. This encompasses the ways in which each artist and their work serve to illuminate the different visual modes of engagement in Cape Town's public spaces. Due to the contemporary nature of the subject matter, this debate is engaged with on three different levels. The first level examines the context of this debate and each artist, whereas the second level considers the points where their respective visual communicative practices intersect and engage in dialogue with each other as well as the general public. The last level considers an alternative way of reading the content, context and form of visual communicative practices so that their resulting effect can be better understood. This is done with the use of Marshall McLuhan's (1964) total effect media theory. Although several other prominent South African artists are mentioned in the scope of this research, it is important to note that the focus still pertains to the aforementioned themes of aesthetics, commercial interest and social relevance in public visual representative practices. Therefore Michael Elion, The Tokolos Stencil Collective and Freddy Sam remain the specific focus of discussion, as their respective works are used to illustrate these three themes. The first level of engagement offers a theoretical background to the reader by briefly familiarising them with international street art and graffiti practices. This brief yet concise background allows for a better understanding of the history and politics surrounding unsanctioned public visual practices and how they differ to formal sanctioned and funded ones.

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Книги з теми "Visual Dialogue"

Rathore, Dharmendra. "Visual resonances": A dialogue in line and colour. New Delhi: Art Alive Gallery, 2002.

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Visual Faith: Art, Theology, and Worship in Dialogue. Grand Rapids, MI: Baker Academic, 2001.

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Witteveen, L. M. The voice of the visual: Visual learning strategies for problem analysis, social dialogue and mediated participation. Delft: Eburon, 2009.

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Duquette, Lise. L' étude de l'apprentissage du vocabulaire en contexte par l'écoute d'un dialogue scénarisé en français langue seconde. Québec: Centre international de recherche en aménagement linguistique, 1993.

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Women's spaces: Gender equity in the visual arts : women in dialogue = Kvinnliga rum : J̈ämställdhet i konsten : kvinnor i samtal. Cape Town: Arts and Media Access Centre, 2005.

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Art, Triton Museum of, ed. La voz: A contemporary visual dialogue of South Bay Mexican American artists = un diálogo visual de artistas México-Americanso del Sur de la Bahía : Triton Museum of Art, Santa Clara, California : May 4 - August 15, 1996. Santa Clara, Calif: Triton Museum of Art, 1996.

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G, Mazow Leo, Osthoff Simone, and Palmer Museum of Art (Pennsylvania State University), eds. Dialogue and diversity: Recent work by faculty in the School of Visual Arts at Penn State : June 28-September 18, 2005, Palmer Museum of Art, the Pennsylvania State University, University Park, Pennsylvania. University Park, PA: Palmer Museum of Art, the Pennsylvania State University, 2005.

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Rachel, Mason, and Eça, Teresa Torres Pereira de., eds. International dialogues about visual culture, education and art. Bristol, UK: Intellect, 2008.

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San Jose Institute of Contemporary Art. and Universidad Autónoma Metropolitana. Galería Metropolitana, eds. Visual dialogues of the eighties =: Diálogos visuales de los ochentas. San Jose, CA: San Jose Institute of Contemporary Art, 1985.

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Dialogues on perception. Cambridge, Mass: MIT Press, 1995.

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Частини книг з теми "Visual Dialogue"

Wu, Qi, Peng Wang, Xin Wang, Xiaodong He, and Wenwu Zhu. "Visual Dialogue." In Visual Question Answering, 199–218. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-0964-1_14.

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Roque, Georges. "Political rhetoric in visual images." In Dialogue Studies, 185–93. Amsterdam: John Benjamins Publishing Company, 2008. http://dx.doi.org/10.1075/ds.2.15roq.

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Finley, Toiya Kristen. "The Visual Novel Audience." In Branching Story, Unlocked Dialogue, 25–34. Boca Raton: CRC Press, 2022. http://dx.doi.org/10.1201/9781003199724-5.

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Fitrianie, Siska, and Leon J. M. Rothkrantz. "Two-Dimensional Visual Language Grammar." In Text, Speech and Dialogue, 573–80. Berlin, Heidelberg: Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11846406_72.

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Finley, Toiya Kristen. "Visual Novel Genres and Platforms." In Branching Story, Unlocked Dialogue, 15–23. Boca Raton: CRC Press, 2022. http://dx.doi.org/10.1201/9781003199724-4.

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Finley, Toiya Kristen. "The Story Delivery of Visual Novels." In Branching Story, Unlocked Dialogue, 37–43. Boca Raton: CRC Press, 2022. http://dx.doi.org/10.1201/9781003199724-7.

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Finley, Toiya Kristen. "The “Novel” Part of “Visual Novel”." In Branching Story, Unlocked Dialogue, 45–64. Boca Raton: CRC Press, 2022. http://dx.doi.org/10.1201/9781003199724-8.

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Finley, Toiya Kristen. "Choice-Based Games and Visual Novels." In Branching Story, Unlocked Dialogue, 7–14. Boca Raton: CRC Press, 2022. http://dx.doi.org/10.1201/9781003199724-3.

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Ge, Wendong, and Bo Xu. "Dialogue Management in Spoken Dialogue System with Visual Feedback." In Lecture Notes in Computer Science, 856–62. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-13560-1_70.

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Li, Lingxuan, Yihong Zhao, Zhaorui Zhang, Tianrui Niu, Fangxiang Feng, and Xiaojie Wang. "Referring Expression Generation via Visual Dialogue." In Natural Language Processing and Chinese Computing, 28–40. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-60457-8_3.

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Тези доповідей конференцій з теми "Visual Dialogue"

Kiose, Maria, Anastasia Rzheshevskaya, and Anna Izmalkova. "Gaze behavior in single-page monomodal and cross-modal switches as affected by Event construal." In Dialogue. RSUH, 2022. http://dx.doi.org/10.28995/2075-7182-2022-21-1078-1088.

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This paper proposes Event-modelling Framework (EMF) to explore the systemic Event construal effects onto gaze. In two eye tracking experiments examining monomodal and cross-modal switches with a total number of 898 gaze probes of Text and Picture Areas of Interest (AOIs), we investigated gaze behavior variations produced by Event construal registered in 61 parameters of Referent, Event Frame and Perspective construal. 5 non-aliased gaze metrics served to assess the significance of Event construal effects and scale them. The results contribute to the research field of ergonomic optimization in visual and reading tasks.

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Yang, Qichuan, Liuxin Zhang, Yang Zhang, and Jinghua Gao. "VisDG: Towards Spontaneous Visual Dialogue Generation." In 2021 International Joint Conference on Neural Networks (IJCNN). IEEE, 2021. http://dx.doi.org/10.1109/ijcnn52387.2021.9534326.

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Mazuecos, Mauricio, Alberto Testoni, Raffaella Bernardi, and Luciana Benotti. "Effective questions in referential visual dialogue." In Proceedings of the The Fourth Widening Natural Language Processing Workshop. Stroudsburg, PA, USA: Association for Computational Linguistics, 2020. http://dx.doi.org/10.18653/v1/2020.winlp-1.9.

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Schlungbaum, Egbert, and Thomas Elwert. "Dialogue Graphs - a Formal and Visual Specification Technique for Dialogue Modelling." In Proceedings of the BCS-FACS Workshop on Formal Aspects of the Human Computer Interface. BCS Learning & Development, 1996. http://dx.doi.org/10.14236/ewic/fac1996.13.

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Tjurina, Nadia S. "The Image Of The “Other” As Revealed Through Visual Arts: Backgrounds And Perspectives." In Dialogue of Cultures - Culture of Dialogue: from Conflicting to Understanding. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.11.03.108.

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Zhang, Heming, Shalini Ghosh, Larry Heck, Stephen Walsh, Junting Zhang, Jie Zhang, and C. C. Jay Kuo. "Generative Visual Dialogue System via Weighted Likelihood Estimation." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/144.

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The key challenge of generative Visual Dialogue (VD) systems is to respond to human queries with informative answers in natural and contiguous conversation flow. Traditional Maximum Likelihood Estimation-based methods only learn from positive responses but ignore the negative responses, and consequently tend to yield safe or generic responses. To address this issue, we propose a novel training scheme in conjunction with weighted likelihood estimation method. Furthermore, an adaptive multi-modal reasoning module is designed, to accommodate various dialogue scenarios automatically and select relevant information accordingly. The experimental results on the VisDial benchmark demonstrate the superiority of our proposed algorithm over other state-of-the-art approaches, with an improvement of 5.81% on recall@10.

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Xu, Zipeng, Fangxiang Feng, Xiaojie Wang, Yushu Yang, Huixing Jiang, and Zhongyuan Wang. "Answer-Driven Visual State Estimator for Goal-Oriented Visual Dialogue." In MM '20: The 28th ACM International Conference on Multimedia. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3394171.3413668.

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Chen, Feilong, Fandong Meng, Xiuyi Chen, Peng Li, and Jie Zhou. "Multimodal Incremental Transformer with Visual Grounding for Visual Dialogue Generation." In Findings of the Association for Computational Linguistics: ACL-IJCNLP 2021. Stroudsburg, PA, USA: Association for Computational Linguistics, 2021. http://dx.doi.org/10.18653/v1/2021.findings-acl.38.

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Part, Jose L., Daniel Hernández García, Yanchao Yu, Nancie Gunson, Christian Dondrup, and Oliver Lemon. "Towards Visual Dialogue for Human-Robot Interaction." In HRI '21: ACM/IEEE International Conference on Human-Robot Interaction. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3434074.3447278.

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Brunetti, Federico Alberto. "Drawing as dialogue." In Fourth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/head18.2018.8239.

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The training paths are essentially based on the acquisition of knowledge in which the transmission of knowledge is organized starting and through the acquisition, and capacity for further modulation, of textual or alphanumeric languages. An area of particular intellectual value is however normally recognized and delegated to the activities defined as creative or artistic. The very concept of "vision", typical of the current methodologies of strategic thinking, refers to the ability to communicate through visual interpretive hypotheses, the experience of reality. In Italy a new regulation called "School-Work Alternation" has been introduced in the training courses, for the development of those attitudes of so-called soft-skills in operational and relational responsibility, for a positive outlook in working contexts. The case study of this manuscrippt concernes the students of the Liceo Artistico who forge their attitudes to know how to deal the conceptual mediations between visible and invisible, between visual thinking and concept vision images. The Drawing accompanies the way they look at the world and elaborate a shareable image. These formative features have made their contributions in these experiences particularly interesting and original, not so much for non-profit creative collaborations that they have been able to develop with the Institutions that have welcomed them, but above all for the current image and innovative that they have been able to interpret and return.

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Звіти організацій з теми "Visual Dialogue"

Inga, Katarina, and Rasmus Kløcker Larsen. Samers förtroende för förvaltningen av vattenkraft: en enkätstudie. Stockholm Environment Institute, May 2022. http://dx.doi.org/10.51414/sei2022.015.

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Ett samhälle som genomsyras av medborgerligt förtroende förväntas fungera smidigare och bidra till effektiviteten och legitimiteten i förvaltningen. Trots ökat fokus på medborgerligt förtroende finns det begränsat med forskning som tar hänsyn till urfolks perspektiv, även när det gäller naturresursförvaltning. I Sverige, som är en del av Sápmi, bidrar vattenkraften till närmare hälften av Sveriges totala elproduktion och cirka 80 % kommer från den storskaliga vattenkraften i Sápmi. Etableringen av vattenkraftverken skedde under 1900-talets första hälft som ett led i koloniseringen av Sápmi, en process som samerna hade lite – om ens något – att säga till om. Många av dessa orättvisor lever fortfarande kvar än idag. Det är därför viktigt att utvärdera det förtroende som samerna har gentemot aktörer inom förvaltningen av vattenkraft för att bättre förstå dess potentiella legitimitet. I den här studien samlades data in via en enkätundersökning bland samer under 2020 i syfte att förstå vilket förtroende de har för att aktörerna skyddar och respekterar samiska rättigheter. Frågorna togs fram tillsammans med en referensgrupp bestående av samiska experter och bygger på teoribildningen kring förtroendedynamik i en urfolkskontext. Vi valde att fokusera på hur förtroende påverkas av faktorer som sårbarhet (oro), inflytande (möjlighet att påverka beslut), och hur man upplever länsstyrelsernas och vattenkraftsbolagens kompetens i samiska rättigheter och bemötande (kommunikation). Totalt svarade 298 personer på enkäten. Resultaten från enkäten och våra statistiska analyser visar att det finns en stor oro bland våra respondenter att samiskt bruk, såsom vatten-, mark- och naturresursanvändning och kultur, påverkas negativt av vattenkraften. Dessutom är förtroendet för både länsstyrelse och vattenkraftsbolag mycket lågt – något som korrelerar med den höga oron för negativ påverkan, uppfattningar om begränsade möjligheter att påverka beslut om vattenkraft, otillräcklig kompetens om samiska rättigheter bland aktörerna och bristfällig kommunikation. Vi argumenterar i rapporten för att det låga förtroendet bland våra samiska respondenter för länsstyrelserna och vattenkraftsbolagen är en konsekvens av tendensen hos dessa aktörer, och även den svenska regeringen, att begränsa samiskt deltagande och inflytande i naturresursförvaltning till intressentbaserade dialoger, utan att på allvar bemöta samiska rättighetsanspråk. Vi föreslår att det är osannolikt att insatserna hos statliga myndigheter eller vattenkraftsbolagen kommer att avsevärt förbättra förtroendet hos samer – och därmed legitimiteten av vattenkraftsförvaltningen – så länge man avstår från att adressera de underliggande rättighetsfrågor som faktiskt är viktiga för samer.

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A Journey towards Integrated Water Resources Management in the Lower Mekong Basin 2019. Vientiane, Lao PDR: Mekong River Commission Secretariat, June 2019. http://dx.doi.org/10.52107/mrc.ajg66o.

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This report, presented through visuals and stories, depicts the efforts by the MRC over six years to transform dialogue to cooperation at the cross-boundary level. It tells how the Commission has strengthened integrated water resources management in the Lower Mekong River Basin via five different projects.

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