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- The Virtual Art Lab: Art Teaching in the MetaversePublication . Sousa, Catarina Carneiro de; Figueiredo, Sofia; Souto-e-Melo, A. L.This chapter discusses the art learning experience in Metaverse, the virtual art lab, conducted entirely online. The authors aim to understand the potentialities of mediated art teaching. It analyses two art projects carried out by higher education students, The Virtual Garden of Time and [D]Utopia, where virtual environments and avatars were designed in a 3D simulator. The process of learning and designing artworks is considered, and a student survey was analyzed, in order to determine advantages and limitations of using creative collaborative environments in art teaching. The authors found that the Metaverse can be an excellent opportunity for students to develop creative, technical, conceptual, and collaborative skills.
- Cinema interativo - videojogos: uma abordagem possível?Publication . Figueiredo, SofiaInteractivity has been permeating every digital object, field of creation, and experience. We see, nowadays, fields which were resistant to this change, such as television, being subjected to this demand for interactivity. Cinema, however, keeps resisting. In neither television nor cinema did the adoption of interactivity come naturally. Cinema stuck to narrative; animation, a specific manifestation of cinema, followed. As both lost the cyclic repetition, the original loop, the two formats were limited to time, to the manipulation of time, to the edition of the temporal dimension, relegating editing and spatial collage to the category of special effects. Linear narratives do not lend themselves to the introduction of variables, under the risk of losing the narrative thread. The ways we interact in any context have also been limited to a small number of options agreed upon by practice and shaped by the technical possibilities of the birth of the computer age. The office metaphor converted the idea of operating a computer system to a very limited experience. In this paper we try to question these limitations, trying to look at the question differently: does interactive cinema already exist- are we not seeing it? We explore the introduction of interaction in animated films. We consider that it would not make sense to create an interactive object in which interactivity was a mere addition, without intrinsic motivation to the project’s own objectives, at a formal and narrative level. In this context, different perspectives are explored when facing interactive cinema.
- Ludificação na sala de aula – um estudo de caso: análise préviaPublication . Figueiredo, Sofia; Souto-e-Melo, A. L.; Rodrigues, Paula; Sousa, Catarina Carneiro deTem-se verificado na última década um impulso para implementar e operacionalizar a utilização de estratégias que habitualmente associamos a jogos – como a atribuição de prémios, acumulação de pontos, e estabelecimento de tabelas de pontuação (leaderboards) – de forma cada vez mais sistematizada, com o intuito de aumentar o envolvimento e a motivação de públicos em circunstâncias variadas: na escola, no local de trabalho, em situações de lazer e de marketing, entre outras. O emprego destas estratégias de aprendizagem não é novo: de uma forma ou outra, como docentes, fomos recorrendo a recompensas, concursos, e outros elementos com os nossos alunos, como forma de motivação para a aprendizagem, que agora surgem na literatura relacionada com a ludificação. O que é novidade é a utilização organizada e sistemática, seguindo guiões e observando resultados de testes empíricos controlados. O presente trabalho procura analisar três casos de implementação de ludificação, dois em Portugal (um deles orientado para alunos mais jovens, e o outro para alunos com caraterísticas e motivações diferentes) e um terceiro internacional, na tentativa de encontrar uma estrutura que possa orientar uma experiência de ludificação numa unidade curricular integrada no ensino artístico na Escola Superior de Educação de Viseu. Procura-se compreender que elementos se revelaram pertinentes e estimulantes, e que contributos trazem para a ação docente, no ensino, e para a ação dos alunos, na aprendizagem. Faz-se ainda uma breve menção a uma experiência de immersive learning, com o intuito de enquadrar os casos analisados num contexto mais abrangente.
- Read Between the Lines: Ager Management ComicsPublication . Figueiredo, SofiaThis paper analyzes the webcomic series Anger Management Comics (AMC), or its multiple aspects, trying to problematize current and past processes of creation and reception of autobiographical comics. AMC relies on page composition, image semiotics, text as image, and other textless strategies to communicate, avoiding verbal communication. It is also constituted by single page stories, or strips/4 panel arrangements. As an autobiographic effort, AMC focuses on seemingly unimportant everyday life events, conveying them in heroic, scripted, conventional ways. In this respect it follows in the footsteps of giants, to whom it will be compared. It also functions as a crisis management tool to its author, and, again, will be compared to other works, as a tool for analysis of the work.
- Videogames as Interactive Cinema - New PerspectivesPublication . Figueiredo, Sofia; Sousa, Catarina Carneiro deThe concept of interactive cinema has been explored in depth since the first incipient manifestations of (non- interactive) cinema. If our first attempts at creating interactive experiences out of narrative, linear film objects have been notoriously clunky and awkward, with the birth of videogames new attempts have been made, bringing fresh ideas and possibilities unto the table. Interactive works that include films as objects are common today. However, interactive cinema as a concept appears to have been abandoned. Cinema continues to be largely non interactive, this dimension seemingly relegated to videogames, apps and websites. We consider that some videogames can be considered interactive cinema. The Last of Us is an example that set the trend of mostly linear, narrative games. Other games have explored this model, achieving better and worse results. We propose that these games could be categorized as interactive cinema. In this paper we aim to continue an exploration of this idea - that there can be interesting, elegantly implemented creations we can name interactive cinema - distinguishing them from video games. We analyze two video games in this light, ‘Pentiment and Everything, trying to understand how they relate to, and differ from, classic cinema and the classic video game experience. We will also discuss the exhibition “Mundos Paralelos” (Parallel Worlds), on display at the the 25th edition of the Avanca Film Festival, to understand the cinematic characteristics of the artworks presented. We conclude by proposing that, perhaps, closed categories might not serve us when creating new objects, and that hybridization is beneficial, creative, and should occur.