The project intends to develop a set of gender indicators to be used by media organisations in Europe, responding to one of the remaining recommendations of the Beijing Platform for Action in relation to improving the position of women in decision-making across the media
The project intends to develop a set of gender indicators to be used by media organisations in Europe, responding to one of the remaining recommendations of the Beijing Platform for Action in relation to improving the position of women in decision-making across the media landscape. The focus throughout the project is on women working in media industries rather than looking at issues related to representation, although some aspects of the media monitoring study will consider the ways in which women and men participate in fact-based programming.
The objectives of the Tender are three:
- to discover how many women occupy decision-making positions in the major media companies across the EU Member States and Croatia, both in terms of their job titles but also their membership of major boards and committees within their organisations
- to identify the extent to which media organisations have developed gender equality policies and if so, their content and broad approaches
- to undertake a TV monitoring exercise to where women and men appear across factual programming.
This project is funded by European Institute for Gender Equality.
Lisbon Sound Map is a work in progress over five years, but with a public presentation of the first sound collections after six months. Taken from the fixed stations, the monitoring and recording of sonic territories will be done in studies.
Lisbon Sound Map is a work in progress over five years, but with a public presentation of the first sound collections after six months. Taken from the fixed stations, the monitoring and recording of sonic territories will be done in studies, particularly those with classic sound marks and considered historical places (the Pombaline lower part of the city), those with changes in their acoustic space through erosion and urban renewal of the previous urban space (some historic districts), and finally, those who are in the process of radical change, either by the construction of buildings or through channels of communication (within the city limits or in areas where the Municipal Head of Planning allows construction).
Places, inhabited or uninhabited, always have a sound memory whose contents may or may not persist in time. Recording and understanding the maintenance and sound alterations in a given territory not only constitutes an individual memory, but above all, a collective one. The acoustic album has become an indispensable instrument and source of information essential to anthropological, sociological, cultural and urban study. With the sound mapping of a given area the assumed strategy is to first to listen to the sound complexity of the place (the users being communication elements) and, secondly, to develop new ways of listening that are revealed in knowledge and expression. The sound map in its interactive form (with the use of different support media) enables social, cultural and political use and expresses the daily life of a place that can be recreated years later, artificially or by removing the causes that coerce the acoustic space.
ESSEMBLE is a unique European training and development project promoted by four European film and Media schools: Universidade Lusófona, Film, Video and Multimedia department, Lisbon, Portugal; Sint-Lukas Brussels University College of Art and Design, Brussels, Belgium; Moholy-Nagy University of Art and Design (MOME), Budapest, Hungary, and ifs international film school cologne, Germany.
ESSEMBLE intends to provide both film and animation students with basic and advance competences concerning new production and distribution techniques and strategies without, on one side, neglecting the essential role script development has for both forms of art, while on the other side, clearly focusing on the development of new concepts that mixes stereoscopic 3d images with live footage.
The main goal of the project is the co-development of four short-fiction films between the partner schools involved in the project based on one single original script – each school will interpret, according with its own training strategy and cultural background, one commonly developed script based on the theme: “Traces of immigration and nomadism in today’s Europe”.
The project is organized along a 4X4X4 structure. This means:
- 4 schools;
- 4 workshops;
- 4 short-fiction films;
- 4 live Workshops – Each workshop takes place in one different school:
- Story Development (Cologne, Germany);
- Script adaptation to visual concept, finding the right design and animation style (Budapest, Hungary);
- Digital Cinematography and Art Direction (Brussels, Belgium);
- Stereoscopic and Motion Capture for Visual Effects (Lisbon, Portugal);
- Plus one module online dedicated to Post-Production and Finishing.
- 4 films – Each film is produced by a team of 20 elements
In each school a group of 5 students from both film and animation will be involved and divided accordingly with their areas of expertise by all modules.
Film and media schools in Europe represent a unique heritage of skills and competences. For decades these schools have educated professionals for a very complex market underpinned by high levels of entrepreneurship and technical innovation.
Film and media schools in Europe represent a unique heritage of skills and competences. For decades these schools have educated professionals for a very complex market underpinned by high levels of entrepreneurship and technical innovation. The CIAKL projects focus on the relation between education and innovation by promoting the transfer of innovation and knowledge between different European film schools and companies posted along the value chain for this particular industry, while at the same time implementing teaching strategies focused on entrepreneurship that can foster employability amongst film and media graduates in Europe and promoting the matching of companies needs and students projects in the cultural industries.
Film represents a unique European heritage and a cultural plus that should be valued. The program addresses clear innovation skills gaps that were identified in this area of training, but goes beyond that by ensuring that these schools distinctive training strategies focused on project development and creativity can be successfully transferred to the industry via innovative learning and knowledge distribution and collaboration platforms.
CIALK project main objective is the transfer of creative and innovative skills and knowledge between European training organizations working in the area of film and media teaching and companies in the film, ICT and media industry, via the development of new curricula, courses and teaching materials amongst consortium members.
CIAKL project sees film and media schools as engines of creativity that can highly benefit from the innovation brought about by learning technologies and a change in students and staff mindset that promotes business and entrepreneurship oriented attitudes.
The project is developed along three axes:
- Learning technologies – by promoting the joint development of curricula, courses and materials supported on learning technologies;
- Collaboration – by promoting the creation of shared knowledge spaces between academia and business companies integrated in the consortium, but also between and with other stakeholders in the target industry;
- Mobility – by promoting networking, joint infrastructure and applications for training, and both students, staff and trainers’ mobility between members of the consortium.
A equipa de investigadores, Francisco Costa Pereira, Damasceno Dias da Universidade Lusófona e Pedro Parreira da Escola de Enfermagem de Coimbra, estão a desenvolver um projeto sobre “O papel da comunicação na motivação dos públicos seniores para a gestão do conhecimento e eficácia organizacional nas organizações”.
As empresas vão tendo cada vez mais séniores que são estigmatizados, uma realidade que tem de se alterar uma vez que os séniores são possuidores de uma experiência de vida e construíram um conhecimento tácito que deve ser passado para a empresa como explicita e poder ser utilizada por todos, especialmente os mais novos.
Assim, a comunicação com estes públicos tem de ser modificada, quer para alterar o estereótipo que se construiu em torno deles, quer para os motivar a continuar a transferirem todo o seu conhecimento tácito para explicito.
This research is aimed at responding to a market need, which is largely recognized by academics, firms and consumers: to overcome the under-use of mobile devices for informational and transactional purposes (Dahlberg et al., 2008; Kleijnen et al., 2007).
This research is aimed at responding to a market need, which is largely recognized by academics, firms and consumers: to overcome the under-use of mobile devices for informational and transactional purposes (Dahlberg et al., 2008; Kleijnen et al., 2007). In Europe, the difference between consumer interest and real usage reaches 50% in some m-commerce services, such as financial services (Sybase, 2008).
This finding informs both the state of incipient development and the potential of this distribution channel (Blackmana et al., 2007). According to Eurostat (2007), the average penetration rate of mobile phones in Europe in 2006 was higher than 100%. Portugal is no exception. During 2008, mobile phone penetration achieved an impressive record of 136% (Anacom,2008). Simultaneously, the data/voice ratio is also increasing at a remarkable pace. The relatively low number of computers connected to the Internet, as well as the large number of mobile phones, makes Portugal a high-potential market for mobile services, such as banking.
ComuniMEDIA – Mobilidade, Comunidade e Capital Social
New forms of communication generate different reactions and expectations. So was the case with the internet and social networks, with fears of unsafe disclosure of information, cyber bullies, addiction, risky behaviors or alienation from society and public life, being some of the concerns raised about the increasing use of these technologies.
The advent of new forms of access to these media, namely the one’s based in mobile devices and technologies, once again calls upon the empirical testing of similar claims, namely on what concerns the possible specificity of such forms of access and their consequences upon the individuals, theirs social constructs and their use of the technology.
The ComuniMEDIA project deals with the consequences of the internet on users and society focusing on the specificities of mobile access to the internet and the consequences such process has in terms of social capital and levels of interaction, namely by evaluating users and communities involvement and forms of use of the media in this particular context.
The research project Stereo Visual Culture aims to characterize the visual culture of stereoscopy in Portugal based on its photographic images and the corresponding specialized discourses in the nineteenth and twentieth centuries.
The motivation for this project is related to the fact that the contemporary visual culture is strongly investing in techniques and devices which expand the visuality beyond the purely optical experiences: The immersive environments of virtual reality games, the tactile interaction with several screens and the 3D techniques are major stakes of the current visual industries to seduce the spectators, involving the participation of their bodies and perceptions. Stereoscopic photography of the late nineteenth and early twentieth century was structured from a program very close to our contemporary visual culture, standing out as a remarkable landmark of its archaeology. This project, therefore, aims to resume the reflection on a medium which has been abandoned by the popular or artistic usage of photography, as well as insufficiently studied in Portugal. It is studying a significant part of the collections of stereoscopic photography available in Portuguese public archives and museums, as well as the discourses about stereoscopy published in newspapers and magazines specialized in photography from 1869 to 1945.
O projeto de investigação Stereo Visual Culture tem como objectivo caracterizar a cultura visual da estereoscopia em Portugal a partir das suas imagens fotográficas e dos discursos especializados que as acompanharam nos séculos XIX e XX. A sua motivação decorre do facto de a cultura visual contemporânea estar a investir fortemente em técnicas e dispositivos que expandem a visualidade para além das experiências puramente ópticas: os ambientes imersivos dos jogos de realidade virtual, a interacção táctil nos diversos ecrãs e as técnicas 3D são grandes apostas das actuais indústrias visuais para seduzir o espectador, implicando a participação do seu corpo e das suas percepções. A fotografia estereoscópica do final do século XIX e das primeiras décadas do século XX estruturou-se a partir de um programa muito próximo ao da cultura visual contemporânea, destacando-se como um marco assinalável da sua arqueologia. Este projeto pretende assim recuperar a reflexão sobre um medium que foi abandonado pelos usos populares ou artísticos da fotografia, assim como muito pouco estudado em Portugal. São objecto deste estudo uma parte significativa das colecções de fotografia estereoscópica disponíveis nos acervos públicos portugueses, assim como os discursos sobre a estereoscopia publicados em jornais e revistas especializadas em fotografia desde 1869 até 1945.
iDTV-SAÚDE: Serviços inclusivos de promoção da saúde e bem-estar via televisão digital interactiva.
The television of the future will certainly be different from the one we currently know. A substantial part of that difference will be related to its capacity to offer services and content to specific groups of user, according to their preferences and needs.
The iDTV Health project’s main objective is to evaluate the potential of digital interactive television (iDTV) to promote original services, formats and contents that can be relevant to support personal health care and wellness of individuals over 55 years of age in the Portuguese territory.
The question for us is not so much a matter of whether we are seeing the end of television as a form of content, but rather a mapping of the exact nature of one of its future configurations for the presentation and distribution of information.