Suchergebnisse

Jeder Fortschritt, jede Neuerung größeren Ausmaßes in verschiedenen Medien provoziert nach einer kurzen Phase spielerischen Experiments eine erneute Konsolidierung wie deren ästhetische Reflexion: Diese Dualität kennen wir spätestens seit den Tagen industrieller Kommunikation als eine Trennung zwischen Massenkommunikation und Kunst. Dies lässt sich gleichermaßen bei der Entwicklung des zentralperspektivischen Bildes, der frühen Fotografie oder ganz besonders der Kinematografie beobachten. Nach einer ersten Phase des Kinos der Attraktionen entwickelte sich eine neue und einzigartige Formensprache des Classical Style als konventionalisierte Gestaltungsregel des Films, die zugleich und teilweise in scharfer Opposition verschiedene Gegenbewegungen auslöste oder als deren explizite Reflexion durch individuelle künstlerische Formensprachen überformt wurde. Aktuell stehen wir vor einer ähnlichen Situation, der Erfindung und Verbreitung dreidimensionaler dynamischer Techniken mit Datenbrille und anderen Technologien, die neue Formen der Virtual Production und damit des Erzählens ermöglichen - sogenanntes 'spatial' oder 'environmental storytelling'. Der Band widmet sich diesem neuen Erzählen auf drei Ebenen: Raumbild und -ton (Film), Bewegung im Raum (Computerspiel und VR) und Raum als Kontext (AR).

Animated humanoid characters are a delight to watch. Nowadays they are extensively used in simulators. In military applications animated characters are used for training soldiers, in medical they are used for studying to detect the problems in the joints of a patient, moreover they can be used for instructing people for an event(such as weather forecasts or giving a lecture in virtual environment). In addition to these environments computer games and 3D animation movies are taking the benefit of animated characters to be more realistic. For all of these mediums motion capture data has a great impact because of its speed and robustness and the ability to capture various motions. Motion capture method can be reused to blend various motion styles. Furthermore we can generate more motions from a single motion data by processing each joint data individually if a motion is cyclic. If the motion is cyclic it is highly probable that each joint is defined by combinations of different signals. On the other hand, irrespective of method selected, creating animation by hand is a time consuming and costly process for people who are working in the art side. For these reasons we can use the databases which are open to everyone such as Computer Graphics Laboratory of Carnegie Mellon University.Creating a new motion from scratch by hand by using some spatial tools (such as 3DS Max, Maya, Natural Motion Endorphin or Blender) or by reusing motion captured data has some difficulties. Irrespective of the motion type selected to be animated (cartoonish, caricaturist or very realistic) human beings are natural experts on any kind of motion. Since we are experienced with other peoples' motions, and comparing each motion to the others, we can easily judge one individual's mood from his/her body language. As being a natural master of human motions it is very difficult to convince people by a humanoid character's animation since the recreated motions can include some unnatural artifacts (such as foot-skating, flickering of a joint).

Animated humanoid characters are a delight to watch. Nowadays they are extensively used in simulators. In military applications animated characters are used for training soldiers, in medical they are used for studying to detect the problems in the joints of a patient, moreover they can be used for instructing people for an event(such as weather forecasts or giving a lecture in virtual environment). In addition to these environments computer games and 3D animation movies are taking the benefit of animated characters to be more realistic. For all of these mediums motion capture data has a great impact because of its speed and robustness and the ability to capture various motions. Motion capture method can be reused to blend various motion styles. Furthermore we can generate more motions from a single motion data by processing each joint data individually if a motion is cyclic. If the motion is cyclic it is highly probable that each joint is defined by combinations of different signals. On the other hand, irrespective of method selected, creating animation by hand is a time consuming and costly process for people who are working in the art side. For these reasons we can use the databases which are open to everyone such as Computer Graphics Laboratory of Carnegie Mellon University.Creating a new motion from scratch by hand by using some spatial tools (such as 3DS Max, Maya, Natural Motion Endorphin or Blender) or by reusing motion captured data has some difficulties. Irrespective of the motion type selected to be animated (cartoonish, caricaturist or very realistic) human beings are natural experts on any kind of motion. Since we are experienced with other peoples' motions, and comparing each motion to the others, we can easily judge one individual's mood from his/her body language. As being a natural master of human motions it is very difficult to convince people by a humanoid character's animation since the recreated motions can include some unnatural artifacts (such as foot-skating, flickering of a joint).

It was long ago, but not as long as it seems: The Berlin Wall fell and the Twin Towers collapsed. In between, one presidential election was allegedly decided by Ross Perot while another was plausibly decided by Ralph Nader. In the beginning, almost every name and address was listed in a phone book, and everyone answered their landlines because you didn't know who it was. By the end, exposing someone's address was an act of emotional violence, and nobody picked up their new cell phone if they didn't know who it was. The 90s brought about a revolution in the human condition we're still groping to understand. Happily, Chuck Klosterman is more than up to the job. Beyond epiphenomena like "Cop Killer" and Titanic and Zima, there were wholesale shifts in how society was perceived: the rise of the internet, pre-9/11 politics, and the paradoxical belief that nothing was more humiliating than trying too hard. Pop culture accelerated without the aid of a machine that remembered everything, generating an odd comfort in never being certain about anything. On a 90's Thursday night, more people watched any random episode of Seinfeld than the finale of Game of Thrones. But nobody thought that was important; if you missed it, you simply missed it. It was the last era that held to the idea of a true, hegemonic mainstream before it all began to fracture, whether you found a home in it or defined yourself against it. In The Nineties, Chuck Klosterman makes a home in all of it: the film, the music, the sports, the TV, the politics, the changes regarding race and class and sexuality, the yin/yang of Oprah and Alan Greenspan. In perhaps no other book ever written would a sentence like, "The video for 'Smells Like Teen Spirit' was not more consequential than the reunification of Germany" make complete sense. Chuck Klosterman has written a multi-dimensional masterpiece, a work of synthesis so smart and delightful that future historians might well refer to this entire period as Klostermanian.

Scenario House, a gallery based installation, is comprised of a room constructed as a family room within a domestic space, a television with a looped video work and a sound componant played through a 5.1 sound system. The paper is intended to give my work context in relation to the processes leading up to its completion. This is achieved through clarification of the basis for the installation including previous socio-political discourses within my art practice. It then focuses on ways that the installation Scenario House is based on gun practice facilities such as the Valhalla Shooting Club. Further it gives an explanation of the actual production, in context with other art practices. It was found that distinctions between war as a game and the actual event are being lost within simulation revenge scenarios where the borders distinguishing gaming violence, television violence and revenge scenarios are increasingly indefinable. War can then be viewed a spectacle where the actual event is lost in a simplified simulation. Scenario House as installation allows audience immersion through sound spatialisation and physical devices. Sound is achieved by design of a 5.1 system played through a domestic home theatre system. The physical design incorporates the dual aspect of a gun shooting club and a lounge room. Further a film loop is shown on the television monitor as part of the domestic space it is non-narrative and semi-documentary in style. The film loop represents the mediation of the representation of fear where there is an exclusion of the other from the social body. When considering this installation it is important to note that politics and art need not be considered as representing two separate and permanent realities. Conversely there is a need to distance politicised art production from any direct political campaign work in so far as the notion of a campaign constitutes a fixed and inflexible space for intellectual and cultural production. Finally this paper expresses the need to maintain a critical openness ...

Author's introductionBy reflecting on violence in its many manifestations this course is intended to problematize youth's relationship to violence. Not only will it underscore how and why violence is perpetrated by young people, but, perhaps more important, how young people are affected. Students will reflect on how violence impacts and enters their own lives – sometimes in very inauspicious ways. Much of what counts as entertainment is laden with, and centres on, violence. For example, Grand Theft Auto is a popular video game wherein game players assume the role of a wannabe gangster whose rise though the criminal underworld is predicated upon his thieving and murderous efficiency. Similarly, the movie Never Back Down follows a young male as he attempts to fight his way into the vaunted inner circle of his high school's 'in' group. Marred by and revered for his reputation as a 'tough guy', the protagonist is forced, in a contradiction that only makes coherent sense in the context of the pervasive violent masculinity which buoys the film, to fight his way clear of this foul reputation.Human intersections with violence are undeniably and unexpectedly complicated. We are fascinated and our lives are directly affected by violence regardless of proximity. Significantly, violence – both the Hollywood version and that which is 'real'– affects each and all. Fears of violence, whether they are informed by official statistics, crime‐based dramas, the 6 o'clock news or reality television, contour our existence in very definite ways. Our temporal and spatial movement through urban space, our understandings of law and governance strategies, our relations with 'others'– significant and otherwise – are conditioned by tangential, lived, experienced and witnessed violence. It alters our way of being, where we choose to live, and how we conduct, protect and entertain ourselves. No one is immune. Human experience is contoured irrevocably by violence.At issue is our inconsistent and contradictory relationship to youth violence. Parents applaud young people's violence – especially their sons'– as they 'duke it out' on the football field and in the hockey arena and urge them to 'get' or 'kill' the other team. At the same time, young people are overrepresented as victims of violence – especially our daughters. This course provides an opportunity to explore and analyze how youth [and] violence is braided into the fabric of Western culture.Starting points/learning objectives1What follows are issues students should consider and meditate on throughout the term. I encourage readers to introduce them at the beginning of the semester and return to them several times throughout. They may also be used to frame study questions and as a course summary.

What is violence?
Why is there such growing concern about youth violence?
What role does the media play in our understanding of youth violence?
How are youth gangs perceived?
What is the relationship between youth and violence?
What is the connection between masculinity(ies) and violence?
How does Western culture champion and, at the same time, abhor youth violence?
What are 'solutions' to youth violence?
What role can youth play in this process?

Author recommendationsHannah Arendt, 1970, On Violence. New York, NY: Harcourt Brace.Following her tumultuous experiences of living through the Second World War and student protests of the 1960s, Hannah Arendt penned her reflections on violence. She famously writes that, 'Violence can always destroy power; out of the barrel of a gun grows the most effective command, resulting in the most instant and perfect obedience. What never can grow out of it is power' (53). She maintains that even though power and violence may hold phenomological elements in common, they are in fact opposites: 'where the one rules absolutely, the other is absent. Violence appears where power is in jeopardy, but left to its own course it ends in power's disappearance' (56). Arendt develops this line of argument later in the book and concludes that, 'Every decrease in power is an open invitation to violence – if only because those who hold power and feel it slipping from their hands ... have always found it difficult to resist the temptation to substitute violence for it' (87). For Arendt, worlds (both individual and global) become irrevocably altered through incidences of violence. She writes, 'the practice of violence, like all action, changes the world, but the most probable change is to a more violent world' (80). Arendt's reflections occasion an opportunity to reflect not only on interpersonal violence, but perhaps more important, state violence.Fearnley, Fran (ed.). 2004. I wrote on all Four Walls: Teens Speak Out on Violence. Toronto, Canada: Annick.How do youth experience violence? This collection contains the captivating stories of nine affected youth whose voices narrate experiences of being victims and instigators of violence. Their stories evidence the complexities of violence. They demonstrate how a great deal of slippage exists between the categories of victim and offender. Instead of being clear cut, the spellbinding tales evidence how the line separating the violent and the victim is often blurred. Most striking about this collection is the demand that adults listen to youth's voices. Tragically, youth are too often the objects of social regulation and academic discourse without being its authors. This collection forces the reader to consider what role, if any, youth voices may play in the amelioration of violence.Loeber, Rolf and David P. Farrington (eds.). 1998. Serious and Violent Juvenile Offenders: Risk Factors and Successful Interventions. Thousand Oaks, CA: Sage.Co‐edited by Rolf Loeber and David Farrington, this impressive collection offers innovative and insightful essays centring on the aetiology and trajectory of violent youth. This report of the Office of Juvenile Justice and Delinquency Prevention's focus group on serious and violent offenders asks the reader to reflect on well‐worn assumptions. Instead of attending to single and static causal explanations of youth violence, the authors identify significant risk and resiliency factors. Collectively, the 17 chapters argue for more proactive responses to youth violence that attend to the complexity of juvenile development. The authors maintain that effective reforms and interventions can be implemented only when predictable assemblages of risk and protective factors are isolated. This volume of essays is impressive for the surfeit of data on risk and resiliency.Messerschmidt, James. 2000. Nine Lives: Adolescent Masculinities, The Body and Violence. Boulder, CO: Westview Press.No list of recommended readings on violence would be complete without at least one of James Messerschmidt's splendid books. In addition to Nine Lives, his Masculinities and Crime and Flesh and Blood are equally impressive. Tying these works together is the author's insistence that masculinities are at the centre of any coherent understanding of violence. Equally important to Messershmidt's work in Nine Lives is his use of the 'life history method'; which involves 'appreciating how adolescent male violent offenders construct and make sense of their particular world, and to comprehend the ways in which they interpret their own lives and the world around them' (5). For Messerschmidt, the world of boys is saturated with violent images that provide a rather limited cultural script through which to define manhood and manliness. Instead of prizing sensitivity and empathy, this hegemonic masculinity rewards (among other destructive qualities) toughness. The significance of this book lies in how Messerschmidt underscores the gendered meaning of violence in the world of nine boys.Sheridan, Sam. 2007. A Fighter's Heart: One Man's Journey Through the World of Fighting. New York, NY: Grove.A scarred man dripping in blood emblazons the cover of Sam Sheridan's book. Taken after one of his professional fights, the image captures the gaze while it repulses the mind. Sheridan's work takes the reader through the preparation and training of the violent body. The interested are catapulted into the world of fighting for sport and the intense and somewhat bizarre physical and, perhaps more important, psychological preparations fighters undertake to do violence to an other. In this book, Sheridan takes the reader on a journey through the life of a professional fighter and along the way provides insight into the corporeality of violence. Sheridan writes, 'Fighting is not just a manhood test; that is the surface. The depths are about knowledge and self knowledge, a method of examining one's own life and motives. For most people who take it seriously, fighting is much more about the self than the other' (337). While the other books I have recommended seek to stand at a distance from violence and describe the physical, psychological and spiritual construction of the violent body from a safe vantage, Sheridan's book dives head first into the masculine phenomenon.Zimring, Franklin. 1998. American Youth Violence. New York, NY: Oxford University Press.With fantastic media claims of a looming youth violence crisis and equally unreasonable governmental policy responses as the backdrop, Franklin Zimring's book offers a sober(ing) reflection. While the author finds media representations of juvenile violence particularly troubling, he considers the aggressive governmental response exceedingly incongruent with the scope of the problem. Wild media depictions of marauding youth criminals and equally pugnacious governmental responses has contributed to an ethos of intolerance manifest in an increasingly punitive juvenile court. After a systematic and careful analysis of juvenile court data and existing state policy, Zimring concludes that youth violence is a problem that requires a more level‐headed approach than is evidenced in escalating incarceration rates and reactionist policy.Zizek, Slavoj. 2008. Violence. New York, NY: Picador.Like Arendt, Slavoj Zizek implores the reader to think more critically and widely about the meanings of violence. Enjoining his characteristic psychoanalytic cunning bolstered by Marxist sagicity, Zizek maintains that violence embodies three overlapping and bouying configurations: subjective, objective and systemic. Through the lens of popular and not‐so‐popular movies and jokes, he suggests that our myopic preoccupation with subjective violence (interpersonal) obscures more insidious forms of systemic violence (committed by capital as intrinsic to the cost of doing business). Engrossment in subjective violence not only allows the systemic forms to go on (relatively) undetected, but to fester. Zizek's book demands that the reader assume a more panoramic stance when posing questions about violence.Course assignmentAdvertising campaign to end violenceIn groups or individually, students act as the creative marketing team for the mayor who is intent on curbing violent youth crime.Instructions

Select a category of violent youth crime for which you would like to create an advertising campaign (e.g. gang violence; dating violence; assault; sexual assault/rape & etc).
For your selected issue, create an advertisement in any media (i.e. poster; newspaper/magazine spot; radio ad (60 sec.); television spot (90 sec.); Public Service Advertisement (PSA, 20 min.); Youtube message (2 min.); newspaper insert; billboard & etc.). You must describe the location/place where the campaign will be found (i.e. which newspaper? During what television show(s)?, etc.).
In addition to your advertisement, you are required to submit a 7 to 10‐page paper that provides the theoretical and intellectual background to your advertising campaign (drawing on at least seven sources). The paper will outline the nature of the selected violent crime problem and explain how the campaign will manage or curb its incidence. Elements of your paper will include: clear introduction and conclusion; clear identification of the major factors involved in the issue; familiarity with the relevant literature; clear organization of the material and arguments; and critical analysis (i.e. What are the limitations of your approach).
You will be given 10 minutes during a town‐hall meeting held during the last week of classes to pitch your campaign to the mayor and alderpersons (aka the class). You must explain why your approach will prove effective and ultimately receive the mayor's endorsement.
Effective Advertising campaigns will be attractive, memorable, clear and creative. A useful example can be found at: http://www.gov.ab.ca/acn/200706/216833FE9BEF6‐0ECF‐81D6‐01A4883EC4C04B71.html
Supporting media: http://www.aglc.gov.ab.ca/pdf/social_responsibility/cage_poster_one_stepped_toe.pdf http://www.aglc.gov.ab.ca/pdf/social_responsibility/cage_poster_five_asked_dance.pdf
You must submit and justify the budget for your campaign. The price tag must be in‐line with potential return.

Recommended films and videosA number of outstanding videos on the topic of youth violence now exist, and I use a number of these throughout the course. In addition to films, I use a variety of additional media forms (i.e. websites, newspaper articles and television news) and guest speakers (i.e. Former gang members, juvenile justice professionals, street kids) that encourage critical thinking. Three films that I find particular useful are: Tough Guise–http://www.mediaed.org/videos/MediaGenderAndDiversity/ToughGuiseTeaching guide: http://mediaed.org/videos/MediaGenderAndDiversity/ToughGuise/studyguide/html Gang Aftermath–http://www.nfb.ca/collection/films/fiche/?id=54450 A Clockwork Orange–http://www.imdb.com/title/tt0066921/Useful websitesFight Violence.net –http://www.fightviolence.net/Ihuman –http://www.ihuman.org/Jackson Katz – 10 Things Men Can do to Prevent Gender Violence –http://www.jacksonkatz.com/wmcd.htmlPromoting Relationships and Eliminating Violence (PREVnet) –http://prevnet.ca/Public Health Agency of Canada – Dating Violence –http://www.phac‐aspc.gc.ca/ncfv‐cnivf/familyviolence/html/femdatfreq_e.htmlThe Youth Restorative Action Project –http://yrap.org/Youth Violence: A Report of the Surgeon General –http://www.surgeongeneral.gov/library/youthviolence/Sample course outlineSection 1 –Introduction to the courseThe first class(es) are intended to provide students with an overview of the course. The starting points/learning objectives outlined above provide a useful entry.Section 2 –What is violence?Providing conceptual clarification of the main concept under consideration is essential before proceeding too far into course content. This section reflects on how violence is defined (and left undefined) in philosophy, law, and criminology. Students will be asked to meditate on the limitations of each approach and to query whether violence can ever be justified and, if so, how.Section 3 –How much violence?Citizens are concerned about violent crime and are impressed by what crime statistics reveal. However, official statistics reveal only those cases which come to police attention or, more specifically, where police arrest a suspect for committing what the criminal code determines to be a violent offence. Understandably, not all violent crime is reported to police. Criminologists refer to the remainder as the dark figure of crime. It follows that crime scholars and statisticians can never be certain they have captured all the crime – violent or otherwise – that is committed in a particular society. When official statistics and media reports are the sole means employed to construct the public face of violence, victimization remains obscured. 'Not on the public's radar in the ethos of school shootings and high profile stabbings is that youth are the most likely victims of violence. Indeed, when the focus of the public's ire is set against a (perceived) rise in violent crime';2 victimization (i.e. bullying, dating violence, and, but not limited to, sexual assault) becomes an almost irrelevant aside to statistics. This section of the course provides an opportunity to shift the locus of debate from sensational media accounts to the complexities involved in youth violence.Section 4 –Understanding Violence and the Violent Offender?For what reasons do youth act violently? Since expert opinion varies widely, the answer you receive to this question will depend greatly on to whom it is posed. With particular attention paid to gender (especially masculinity), this section surveys various explanations of violent youth behaviour.Section 5 –Violent VictimizationYouth are typically overrepresented as victims of violent crime. This section of the course considers why this seems to be the case. It also surveys different forms of violent victimization including: racial violence, bullying, dating violence and sexual assault. Students will be asked to consider the most likely perpetrators of these crimes.Section 6 –The Culture of ViolenceViolence pervades Western culture. Nowhere is this more obvious than in the mass media. Movies, video games, sports, music videos and television programmes all contain heavy doses of violence. This section of the course confronts the violent images many take for granted. An attempt is made to juxtapose simulated violence with 'real‐life' violence and ponder what renders the former (more) acceptable while the latter is (almost) universally condemned. Through an examination of violence in media (movies, video games, etc.) and sport (hockey, football and mixed martial arts) students consider what our relative acceptance of these forms of violence reveals about Western society.Section 7 –Regulating and Managing ViolenceFear of violence has prompted individuals to respond in very direct ways to the prospect of victimization (i.e. buying pepper spray, purchasing burglar alarms, avoiding a particular area of town after dark). They have also demanded that their governments impose the most austere punishments on violent offenders and enact increasingly intrusive legislation. Bootcamps, chain gangs, the strap and, of course, incarceration have been advanced in the fight against violence. Canada's ruling Conservative party has recently pressured the Senate to speed up their deliberations over their proposed Tackling Violent Crime Act; which boasts a number of measures intended to satiate demand from a fearful public.Questions to consider in this section of the course include: Why has state intervention proven relatively ineffective? What innovative programs exist 'outside' of the state? To what extent does the amelioration of violence depend on the creation and widespread acceptance of a more tolerant and less aggressive masculine ethic? What role can youth play in preventing violence?Section 8 –ConclusionThe final section provides an opportunity to reflect on course themes by returning to the learning objectives and starting points outlined above. It is also an opportunity to move forward. If all agree that youth violence is indeed a problem, we must ask what we (each and all) are willing to do toward its amelioration. In the meantime we need to ask difficult and uncomfortable questions while assembling creative means of positively improving the situation many young people face. This means going beyond interventions that replicate the status quo to considering what a more just and humane world would look like.Notes
* Correspondence address: Department of Sociology, University of Alberta, 5‐21 H.M. Tory Building, Edmonton, AB T6G 2H4, Canada. Email: bryan.hogeveen@ualberta.ca.

1 Starting Points are adapted from Minaker and Hogeveen, Youth, Crime and Society: Issues of Power and Justice.

2 Hogeveen, Bryan. 2007. 'Youth (and) Violence.' Sociology Compass. ½: 463–484. ReferencesHogeveen, Bryan 2007. 'Youth (and) Violence.' Sociology Compass ½: 463–84.Minaker, Joanne C. and Bryan Hogeveen 2008. Youth, Crime and Society: Issues of Power and Justice. Toronto, Canada: Pearson.

The article deals with the peculiarities of the introduction of distance learning in the modern system of military education. The legal basis is described. The main social challenges, which dictate the need for such an introduction, are considered. The authors review selected models of distance learning what are called e-learning. The authors deal with platform, which are implemented, at military higher educational institutions systems. First of them is e-learning platform named MOODLE. It's not new platform for others higher schools. But, the military higher Schools have specific methods of education. The biggest problem is the secrecy of educational materials. Therefore, the analogical systems did not use in here before. However, the Concept of Distance Learning in the Armed Forces of Ukraine declares the strategy to implement of e-learning. Therefore, the authors emphasize a number of benefits of distance learning. Definitely, there are problems of introduction of distance learning and modern educations system in the educational process. The first results will give a new visualisation of advantages or disadvantages of distance education. However, today the important part of e-learning is to provide all the members of e-learning regular access to educational resources. Therefore, alternative resources are proposed for rationalizing the use of the training time and the period of independent training. In addition, new ways to use existing technologies and tools are proposed. The authors share their own experience about using the online platform Kahoot. It is created to make and use tests. Moreover, that platform is used for making anonym surveys. It is necessary for tutors who want to give their students all best. Kahoot is very simple system. Each question has three or four answers and about one hundred and twenty seconds to answer. The work with tests is similar to game. The participants do not feel pressure. It is able to engage the hidden abilities of each student. For authors opinion, that testing creates the ability to analyse, critically think, reject an unimportant bilateral solution are proposed. This, according to the authors, is an extremely important characteristic of a military officer. Thus, the introduction of the modern forms of education at military universities is a very important part of successful training. ; В даній статті розглядаються особливості впровадження дистанційного навчання в сучасну систему військової освіти, їх правове підґрунтя, та суспільні виклики, що диктують необхідність такого впровадження. Авторами розглянуті вибрані моделі і технології дистанційного навчання, що вводяться у військових вузах. Вказано на ряд їх переваг. Наголошено на проблемах їх впровадження в освітній процес. Запропоновано альтернативні ресурси для раціоналізації використання навчального часу та періоду самопідготовки. Крім того, запропоновано нові шляхи використання вже існуючих технологій та засобів, що дозволять задіяти слухачів у дискусії, розвинути в них здатність аналізувати, критично мислити, відкидати неважливе, швидко приймати рішення. Це, на думку авторів, є надзвичайно важливою характеристикою військового офіцера. ; В данной статье рассматриваются особенности внедрения дистанционного обучения в современную систему военного образования, их правовую основу, и общественные вызовы, которые диктуют необходимость такого внедрения. Авторами рассмотрены выбранные модели и технологии дистанционного обучения, которые вводятся в военных вузах. Указано на ряд их преимуществ. Отмечено проблемы их внедрения в образовательный процесс. Предложены альтернативные ресурсы для рационализации использования учебного времени и периода самоподготовки. Кроме того, предложены новые пути использования уже существующих технологий и средств, которые позволят задействовать слушателей в дискуссии, развить у них способность анализировать, критически мыслить, отвергать неважное, бистро принимать решения. Это, по мнению авторов, является чрезвычайно важной характеристикой военного офицера.

International audience ; This article analyses how a transfer of food can become a political act based on the description of a scene of embarrassment during the feast of a Buddhist initiation ceremony called shinbyu. A shinbyu is a religious donation in the full sense of the term (ahlu), crucial in the lives of the Buddhist Burmese. While the shinbyu has been studied for its symbolic and ritual aspects by various anthropologists, this article proposes to analyse it through the social scenes in which different types of transfers (invitation, reception, donations of food, money, mutual help, etc.) intertwine with the religious donation. It focuses especially on "The Plate Scene", an ambiguous moment where uncertainty about the meaning of the staging – donors posing for a video while feeding the guests – reveals the political work at play in interpreting transfers – when an elderly lady refuses to be caught in the game. Ultimately, this article shows how a typological approach to the forms of transfers can be combined with a more political approach to the stakes underlying them. ; Cet article analyse comment un transfert de nourriture peut devenir un acte politique à partir de la description d'une scène de malaise lors du banquet d'une cérémonie d'initiation bouddhique. Le shinbyu est un rituel de prise de robe marquant l'entrée dans le noviciat pour un jeune garçon, une donation religieuse au sens plein (ahlu), cruciale dans la vie des Birmans bouddhistes. Si le shinbyu a été analysé sous l'angle symbolique et rituel par différents anthropologues, cet article étudie un shinbyu à partir des scènes sociales où différents types de transferts (invitation, réception, dons de nourriture, d'argent, entre-aide, etc.) s'imbriquent avec la donation religieuse. Il s'agit notamment de mettre l'accent sur « la scène de l'assiette », un moment de malaise où l'incertitude quant au bien-fondé de la mise en scène lors du banquet met au jour une ambivalence relative à l'interprétation du transfert : quand le couple de donateur sert directement à manger aux convives et qu'une dame âgée refuse de se faire prendre au jeu. In fine, cet article montre comment l'approche typologique des formes de transferts peut contribuer à l'analyse des processus politiques mettant en débat leur sens.

Abstract. The aim of the Creative Economy Development Strategy for Micro, Small and Medium Enterprises (MSMEs) in Pemalang District is to identify the potential of 15 sub-sectors of the creative industry and various factors that are components in the development of the creative economy and determine the strategy for developing creative industries in Pemalang District. Therefore collaboration between various actors who play a role in the creative economy, namely intellectuals, business, community and government becomes absolute and is a basic prerequisite. In addition, the collaboration will play a role in realizing the driving factors that can drive the creative economy to reach the target of 15 sub-sectors of the creative industry, namely Advertising, Publishing and Printing, TV and Radio, Film, Video and Photography, Music, Performing Arts, Architecture, Design, Fashion, Crafts, Art Goods Market, Interactive Games, Computer Services and Software, Research and Development and culinary. The number of creative industry actors in Pemalang district is 6,764 businesses, so the minimum sample size is 98.54 households. By considering reducing tolerance for sampling errors, the sample used in this study was 150 creative industry entrepreneurs. The potential of the creative industries in Pemalang district is quite large, with more than 6,479 businesses or MSMEs engaged in this industry. Of the 15 sub-sectors of the creative industry, 12 of them have been identified and are developing quite well in Pemalang District. While the 3 sub-sectors including advertising, printing and publishing and the market for art goods are still not in demand by the public. The results of evaluation of internal factors show that the weakness factor possessed by creative business actors is greater than the strength factor, which is indicated by a score difference of 0.02. While the results of evaluating external factors show that the opportunities possessed by creative entrepreneurs in Pemalang District are greater compared to the challenges faced by those indicated by a score difference of 0.36. The appropriate strategy for the development of creative industries in Pemalang District is through product development that promotes creativity and innovation and creates efficiency and effectiveness of production, distribution and commercialization in order to increase the competitive and comparative advantage of creative industries in Pemalang district.Keywords: Creative Economy, Creative Industry Subsector, SWOT, Creative Industry Strategy

Teachers, instructors and faculty are facing unprecedented change, with often larger classes, more diverse students, demands from government and employers who want more accountability and the development of graduates who are workforce ready, and above all, we are all having to cope with ever changing technology. To handle change of this nature, teachers and instructors need a base of theory and knowledge that will provide a solid foundation for their teaching, no matter what changes or pressures they face. Although the book contains many practical examples, it is more than a cookbook on how to teach. It addresses the following questions: Is the nature of knowledge changing, and how do different views on the nature of knowledge result in different approaches to teaching? What is the science and research that can best help me in my teaching? How do I decide whether my courses should be face-to-face, blended or fully online? What strategies work best when teaching in a technology-rich environment? What methods of teaching are most effective for blended and online classes? How do I make choices among all the available media, whether text, audio, video, computer or social media, in order to benefit my students and my subject? How do I maintain high quality in my teaching in a rapidly changing learning environment while managing my workload? What are the real possibilities for teaching and learning using M.O.O.C.s, O.E.R.s, open textbooks? In summary, the book examines the underlying principles that guide effective teaching in an age when everyone, and in particular the students we are teaching, is using technology. A framework and a set of guidelines are suggested for making decisions about your teaching, while understanding that every subject is different, and every teacher and instructor has something unique and special to bring to their teaching. In the end, though, the book isn't really about teachers and instructors, although you are the target group. It's about you helping your students to develop the knowledge and skills they will need in a digital age — not so much digital skills, but the thinking and knowledge that will bring them success. For that to happen, though, your students need you to be on top of your game. This book is your coach.

This thesis explores how the politics of cyber conflict redefine violence, sovereignty, and territory in and through cyberspace. It does this by studying how the digital mediates different facets and experiences of conflict and security in Palestine. Through a comprehensive and context-informed approach, this research theorizes cyber conflict as a phenomenon spanning beyond the conventional sites, agencies, and categories of international cybersecurity and warfare. Paper I analyzes the game scenarios of international and national cyberwar exercises to understand how military strategists envision cyberwar and normalize the idea of cyberspace as a domain of warfare through the creation of simulacra of war. Paper II develops a disembodied perspective on the violence of cyber conflict by highlighting its harmful informational aspects through a reflection on how these have affected the process of knowledge production during the fieldwork of this dissertation. Paper III engages with the Palestinian national strategy for cybersecurity (and the lack thereof) to disentangle infrastructural/informational elements of the cyber/digital sovereignty narrative and reveal its emancipatory potential for actors other than the state. Paper IV interrogates the extent to which Israeli and Palestinian policies and strategies articulate cyberspace in territorial terms and reproduce its diverse spatial realities of annexation, occupation, and blockade in cyberspace. Paper V examines the relationship between conflict, technology, and freedom to critique the inclusion of internet access into the agenda on human rights by analyzing the political dynamics of connectivity in Palestine. Paper VI unravels how the video game's augmented reality of East Jerusalem constructs a spatial imaginary of the city that, by erasing the Palestinian urban space from digital representation, neutralizes the experience of play through a diminished reality. Paper VII explores how algorithms rearticulate security practices by making Palestinian users and contents hyper-visible to surveillance while also creating an aesthetics of disappearance through the erasure of Palestine from cyber and digital spaces. Through this comprehensive empirical approach, this research also contributes to cybersecurity scholarship by problematizing the epistemological relevance of traditional categories and thresholds of warfare and security for shedding light on the blurring politics of cyber conflict. Besides revealing the inadequacy of framing conflict in cyberspace as only an issue of warfare and security, the study of cyber conflict in Palestine also shows how the construction and operationalization of these narratives ultimately affect political life and individual liberties via (the seizure of) the digital.

Our overall vision for Mobile Life has been to create a society where happiness, playfulness and creativity are factors in peoples' everyday lives. Through the ten years of research, the centre has become a strong voice advocating a human centred focus on digitalisation – focusing on what makes a good life for all. More importantly, we have provided a path to how this can be done – in our design processes, in our tools, in new business models, and in how we approach studies of life styles in change. The Mobile Life Way that is, our way of engaging in design-led exploration of novel technology, based on social science, art, design thinking, aesthetics and value-based concerns, is a unique approach that has rendered results that will continue to inspire. Our design work has often been many years ahead of the commercial front and today we see many of the design concepts from the earlier years of Mobile Life being provided as commercial products. This includes, for example, our work on wearable biosensors for wellbeing and health and tools for amateur video production. To address the vision of a good life, the centre has initiated and developed unusual and evocative research topics such as: integrating digitalisation with the fashion industry; connecting back to nature and engaging animals in interaction; designing with felt life and bodily engagement; pervasive games; or studying the life style changes that follow from the sharing economy. These research topics have changed the academic frontiers of our field. Taken together these explorations paint a broad picture of a whole society in change. A consumer-oriented Internet of Things society is no longer a prospect, but a reality. This enables a future where disruption could potentially create conflict, inequality, decrease inclusion and directly harm the success of Swedish companies and way of life. As a reaction to this negative view we have instead envisioned a positive world where digital technologies causes disruption that enhances engagement, creativity and enjoyment. In doing so, we have not shunned from the political and ethical implications of our work, dealing with topics such as the importance of empowerment of all to be makers and participants in a highly technologically-infused society. These results continue to be important – to our partners, to academic research in our field, as well as to the whole society. Ultimately, both the history of Mobile Life and the way forward can be captured in our credo: Always Explore! Always Create! Always Enjoy!

At the beginning of the 1970s, in France, science fiction subculture engages in its countercultural moment. Contestations and claims of legitimacy come from different media: Laloux defends a national, artisanal and engaged conception of animation (La Planète sauvage, 1973), French "bande dessinée" shows new aesthetic and graphic ambitions in magazines referring to themselves as "adult" (Metal hurlant, 1975, with a special focus on Mœbius and Bilal), and literary science fiction becomes more and more politicised, confronted to the legacy of the British New Wave and to the ideology born with Mai 68 (Andrevon, Les Hommes-machines contre Gandahar, 1969). Thirty years later, the "multimedia revolution" implies a technical and cultural convergence between videogames, hyperrealistic special effects in cinema, and 3D computer generated animation movies. In this context, the novelizations of Pierre Bordage (Atlantis, 1998, adapted from an adventure video game by Cryo Interactive, and Kaena, 2003, from a European 3D digital animation movie) question the still rare interactions between literature and "new media" in French science fiction, at the turning point of the 2000s and as we move into the digital moment of existence of popular fictions. Considering this area and this period of time, this thesis examines intermediality in French science fiction as a historical and rhetorical construction, used by the actors to promote certain representations of the genre and to take position in conflicts about generic definition, especially regarding the relations with American productions, the industrial question, and the place of the author. I identify three moments of intermediality in French science fiction during that period of time (1973-2003). I consider the term moment in its temporal sense (a duration) and in its physical one (a synchronic measure of a dynamic phenomenon). This historical analysis of intermediality's forms and discourses shows how the French « macro-texte » (Bréan) evolves in regard to the global « mega-text » of the genre (Broderick). This leads to study secondly what I call the « SF-effect », in relation with that historical and cultural context, from a semiotic, cognitive and narrative point of view. I engage in clarifying semiotic modalities of the SF-effect by considering relations between novum (a strange diegetic reality) and estrangement (a strange formal device), both depending on media and generic architextual determinants. Discussing the famous theory of Suvin, I propose an intermedial analytical framework of the cultural poetics of science fiction. Visual SF-effect is specifically investigated, and then confronted to the verbal estrangement figures, leading to a narrative intersemiotic approach of science fiction "texts" (in a broad meaning) when they are produced by media using different systems of signs. Finally, I consider the problem of world building and how novums and estrangements intersect in productions from different media when these productions share the same fictional world. I discuss the concept of transfictionality forged by Saint-Gelais and the propositions of Besson and Letourneux about massively transmedial contemporary fictional worlds. I distinguish four intermedial "world-effects" (worlds to be built, worlds to be diversify, helical worlds, worlds to be played) in the specific French biotope of the genre, which may also offer helpful support to analyse other cultural and generic phenomena. ; Au début des années 1970, en France, la science-fiction constituée en subculture connaît son moment contre-culturel, à la croisée des médias et des revendications en légitimité, avec le long métrage d'animation de Laloux (La Planète sauvage, 1973), les revues de bandes dessinées « adultes » (Métal hurlant, 1975, notamment Mœbius et Bilal) et la politisation de l'écriture du genre qui se positionne par rapport à l'héritage des expériences formelles de la New Wave et à l'idéologie contestataire de Mai 68 (Andrevon, Les Hommes-machines contre Gandahar, 1969). Trente ans plus tard, dans le contexte de la révolution multimédia qui fait converger jeu vidéo, cinéma à effets spéciaux et animation de synthèse, les novellisations de Bordage tirées d'un jeu vidéo (Atlantis, 1998) et d'un dessin animé en 3D (Kaena, 2003) interrogent les rapports encore assez étanches entre littérature de science-fiction et nouveaux médias en France, à l'aube du régime numérique de consommation des fictions de masse. À partir de ce domaine et de cette période d'étude, cette thèse envisage l'intermédialité dans la science-fiction française comme construction historique et discursive produite par les acteurs, lieu de négociation des représentations du genre et de ses conflits de définition, par rapport au domaine américain, à la question industrielle et à la figure de l'auteur. Elle en identifie trois moments historiques, en comprenant le terme moment dans son sens temporel de « durée » comme dans son sens physique de « mesure d'une dynamique en synchronie ». Ce parcours historique des formes et des discours de l'intermédialité dégage les lignes évolutives du « macro-texte » français (Bréan), en montrant comment il se positionne par rapport aux logiques du « mega-text » (Broderick). Il conduit, dans un deuxième temps, à interroger comment les romans, les bandes dessinées, les dessins animés, les films et les jeux vidéo font science-fiction par rapport à cet ancrage culturel, du point de vue sémiotique, cognitif et narratif. Les modalités sémiotiques de l'effet-SF sont clarifiées par la distinction entre étrangetés de monde (novums) et étrangetés de forme (estrangement), toutes deux dépendantes de déterminations architextuelles médiatiques et génériques. La relecture des propositions de Suvin permet ainsi de construire une grille d'analyse intermédiatique de la poétique culturelle du genre. Le novum visuel fait l'objet d'une enquête spécifique, pour être ensuite confronté aux leviers verbaux de l'étrangeté et pour envisager une intersémiotique narrative du genre dans les médias plurisémiotiques (bande dessinée, cinéma, animation, jeu vidéo). Le troisième temps de la thèse fait passer au niveau des mondes, pour considérer l'articulation des étrangetés non plus dans une œuvre, mais entre des œuvres de médias différents ayant en partage une même fiction. En discutant notamment le concept de transfictionnalité (Saint-Gelais) et les travaux de Besson et de Letourneux sur les univers fictionnels contemporains massivement transmédiatiques, on distingue quatre dynamiques intermédiatiques de construction de monde (monde à bâtir, monde à varier, monde en hélice et monde à jouer). Il s'agit de cibler la spécificité du biotope français en matière d'« effet-monde » science-fictionnel, mais aussi de proposer des modèles utiles à l'analyse d'autres réalités culturelles.

At the beginning of the 1970s, in France, science fiction subculture engages in its countercultural moment. Contestations and claims of legitimacy come from different media: Laloux defends a national, artisanal and engaged conception of animation (La Planète sauvage, 1973), French "bande dessinée" shows new aesthetic and graphic ambitions in magazines referring to themselves as "adult" (Metal hurlant, 1975, with a special focus on Mœbius and Bilal), and literary science fiction becomes more and more politicised, confronted to the legacy of the British New Wave and to the ideology born with Mai 68 (Andrevon, Les Hommes-machines contre Gandahar, 1969). Thirty years later, the "multimedia revolution" implies a technical and cultural convergence between videogames, hyperrealistic special effects in cinema, and 3D computer generated animation movies. In this context, the novelizations of Pierre Bordage (Atlantis, 1998, adapted from an adventure video game by Cryo Interactive, and Kaena, 2003, from a European 3D digital animation movie) question the still rare interactions between literature and "new media" in French science fiction, at the turning point of the 2000s and as we move into the digital moment of existence of popular fictions. Considering this area and this period of time, this thesis examines intermediality in French science fiction as a historical and rhetorical construction, used by the actors to promote certain representations of the genre and to take position in conflicts about generic definition, especially regarding the relations with American productions, the industrial question, and the place of the author. I identify three moments of intermediality in French science fiction during that period of time (1973-2003). I consider the term moment in its temporal sense (a duration) and in its physical one (a synchronic measure of a dynamic phenomenon). This historical analysis of intermediality's forms and discourses shows how the French « macro-texte » (Bréan) evolves in regard to the global « mega-text » of the genre (Broderick). This leads to study secondly what I call the « SF-effect », in relation with that historical and cultural context, from a semiotic, cognitive and narrative point of view. I engage in clarifying semiotic modalities of the SF-effect by considering relations between novum (a strange diegetic reality) and estrangement (a strange formal device), both depending on media and generic architextual determinants. Discussing the famous theory of Suvin, I propose an intermedial analytical framework of the cultural poetics of science fiction. Visual SF-effect is specifically investigated, and then confronted to the verbal estrangement figures, leading to a narrative intersemiotic approach of science fiction "texts" (in a broad meaning) when they are produced by media using different systems of signs. Finally, I consider the problem of world building and how novums and estrangements intersect in productions from different media when these productions share the same fictional world. I discuss the concept of transfictionality forged by Saint-Gelais and the propositions of Besson and Letourneux about massively transmedial contemporary fictional worlds. I distinguish four intermedial "world-effects" (worlds to be built, worlds to be diversify, helical worlds, worlds to be played) in the specific French biotope of the genre, which may also offer helpful support to analyse other cultural and generic phenomena. ; Au début des années 1970, en France, la science-fiction constituée en subculture connaît son moment contre-culturel, à la croisée des médias et des revendications en légitimité, avec le long métrage d'animation de Laloux (La Planète sauvage, 1973), les revues de bandes dessinées « adultes » (Métal hurlant, 1975, notamment Mœbius et Bilal) et la politisation de l'écriture du genre qui se positionne par rapport à l'héritage des expériences formelles de la New Wave et à l'idéologie contestataire de Mai 68 (Andrevon, Les Hommes-machines contre Gandahar, 1969). Trente ans plus tard, dans le contexte de la révolution multimédia qui fait converger jeu vidéo, cinéma à effets spéciaux et animation de synthèse, les novellisations de Bordage tirées d'un jeu vidéo (Atlantis, 1998) et d'un dessin animé en 3D (Kaena, 2003) interrogent les rapports encore assez étanches entre littérature de science-fiction et nouveaux médias en France, à l'aube du régime numérique de consommation des fictions de masse. À partir de ce domaine et de cette période d'étude, cette thèse envisage l'intermédialité dans la science-fiction française comme construction historique et discursive produite par les acteurs, lieu de négociation des représentations du genre et de ses conflits de définition, par rapport au domaine américain, à la question industrielle et à la figure de l'auteur. Elle en identifie trois moments historiques, en comprenant le terme moment dans son sens temporel de « durée » comme dans son sens physique de « mesure d'une dynamique en synchronie ». Ce parcours historique des formes et des discours de l'intermédialité dégage les lignes évolutives du « macro-texte » français (Bréan), en montrant comment il se positionne par rapport aux logiques du « mega-text » (Broderick). Il conduit, dans un deuxième temps, à interroger comment les romans, les bandes dessinées, les dessins animés, les films et les jeux vidéo font science-fiction par rapport à cet ancrage culturel, du point de vue sémiotique, cognitif et narratif. Les modalités sémiotiques de l'effet-SF sont clarifiées par la distinction entre étrangetés de monde (novums) et étrangetés de forme (estrangement), toutes deux dépendantes de déterminations architextuelles médiatiques et génériques. La relecture des propositions de Suvin permet ainsi de construire une grille d'analyse intermédiatique de la poétique culturelle du genre. Le novum visuel fait l'objet d'une enquête spécifique, pour être ensuite confronté aux leviers verbaux de l'étrangeté et pour envisager une intersémiotique narrative du genre dans les médias plurisémiotiques (bande dessinée, cinéma, animation, jeu vidéo). Le troisième temps de la thèse fait passer au niveau des mondes, pour considérer l'articulation des étrangetés non plus dans une œuvre, mais entre des œuvres de médias différents ayant en partage une même fiction. En discutant notamment le concept de transfictionnalité (Saint-Gelais) et les travaux de Besson et de Letourneux sur les univers fictionnels contemporains massivement transmédiatiques, on distingue quatre dynamiques intermédiatiques de construction de monde (monde à bâtir, monde à varier, monde en hélice et monde à jouer). Il s'agit de cibler la spécificité du biotope français en matière d'« effet-monde » science-fictionnel, mais aussi de proposer des modèles utiles à l'analyse d'autres réalités culturelles.