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Scholars have confirmed that apart from being an aid to hearing impaired or deaf people, intralingual subtitles, also known as captions, have a function as an audio–visual aid in language learning as well. While many studies verified the effect of using normal captions on various language skills such as listening, reading, comprehension, and vocabulary, little is known about the distinctive captions from Japan known as telop. This study tries to find out how Japanese language learners (JFL) feel about the use of open captions telop (OCT) (henceforth, telop) and what makes a lesson successful. Eight participants majoring in the Japanese language at Universiti Malaya were chosen to participate in this study and joined a lesson. During the lesson, they were asked to complete vocabulary tests, video analysis sheets, comprehension tests, and a learning diary. One interview was held to study their perceptions of OCT. The results show that there are five perceptions of the use of telop in JFL classrooms. We also found that there are four factors that can be addressed to make a lesson become successful. This study concluded that telop has many benefits that can help JFL learners improve their learning experience. Therefore, the use of telop by JFL instructors as an alternative way to expose authentic conversation to learners should be encouraged.

Slides de cavalete | Easel slides (1978–1979) is a slide-based artwork by the Portuguese artist Ângelo de Sousa (1938–2011), composed of one-hundred colour slides. Each image was produced by capturing different proportions of red, green, and blue (RGB) lights to obtain colour gradations. The artwork was first presented in the exhibition A Fotografia como Arte/A Arte como Fotografia | Photography as Art/Art as Photography in 1979. Associated with this exhibition, documentary evidence was found during the present study providing specific instruction on how to display the artwork (possibly unknown until now). According to that documentation, the artist wanted the work to be projected on a canvas mounted in an easel with a 19th century semblance, using a slide projector. In the last two exhibitions, carried out in 2017, after the artist had passed, the work was displayed as a digital projection, without the previously mentioned sculptural components. It was considered that this deviation from the first presentation could have led to a misunderstanding of the work. Thus, an exhibition of this artwork was prepared in a room at the Library of Faculdade de Ciências e Tecnologia. This was built as an experimental laboratory, having as one of its important objectives to test the variability of the work projected with a slide projector and a digital projector, following the display setup defined by the artist. For four days, the visitors were shown the work displayed under these two distinct scenarios of presentation. The visitors were also asked to fill out a questionnaire, to capture their perception about the variance of the work. The data obtained in the questionnaire and during the exhibition reinforced the decision to expose Slides de cavalete using the original technology. The public preferred the quality and beauty of the image using the slide projector, highlighting as positive aspects more granularity and warmer hue as well as higher depth of the images. Additionally, the production process behind Slides de cavalete was studied, based on documentation discovered in the artist’s archive and on reproductions, to enrich our perception of the work, in particular the complexity of creating the sfumato effects, and to understand the impact of changing the display technology. The results obtained made it possible to identify the main steps of making these slides, and this knowledge was shared with visitors in a workshop, integrated in this experimental laboratory.

Purpose - The purpose of this paper is to resolve the problem of 3D modelling of small objects lacking or without real texture, using an automatic, practical, convenient and effective method.Design methodology approach - For each space feature point projected on the surface of the target small object, there are two corresponding 2D points existing. One is an image point in one of the image sequences from the digital camera; another is a point in the slide from the projector. Using the image processing method, the image point can be extracted out accurately so that its 2D coordinates are gained. At the same time, the slide point is designed first so that its 2D coordinates are calculated by the known data. The 3D coordinates of the space feature point can be computed by the space forward intersection.Findings - The projector-camera system is composed of a slide projector, a digital camera, a control ground, and a computer. The computer controls the other three pieces of equipment, working together automatically and efficiently.Research limitations implications - According to the size of the grid, the target object is relatively small. The planar grid is functioned as the calibration of the slide projector and the digital camera.Practical implications - The paper presents a very effective approach for 3D reconstruction of small objects.Originality value - According to the traditional method of the digital camera taking images, the projector is steered so that the projector-camera system is formed. After being calibrated, respectively, in advance, the projector-camera system is similar to the binocular vision system in the principle of 3D modelling.

aim in this essay is to elaborate a mode of political theorizing that is not beholden to the “how do you know?” question of epistemic validation. Rather than focusing on epistemological arguments, I propose that people interested in studying political theory address the partiality of aspects that emerge when engaging works, and the participation of media in the creation of political concepts. Central to my elaborations is the aesthetic notion that there is no overarching rule that will determine how objects, peoples, and events relate to one another and stand out as relevant to political theory, and that there are no necessary qualifications for participation in political theorizing. The essay is comprised of three sections. The first engages three thinkers of the interpretive turn in political theory: Charles Taylor, Quentin Skinner, and James Tully. The second section assembles three images of thought drawn from three different expressions of three diverse thinkers: Roland Barthes, Stanley Cavell, and Jacques Derrida. In the third section I depart from the theoretical experimentation and interpretive work of the previous sections and redirect attention to the participation of media in political theorizing. I conclude the essay by suggesting that political theory is process of mediation between and amongst a diversity of elements that have no common measure.

At present, the 3D modeling of the small relievo which is lack of real texture or no real texture is a huge difficulty and challenge. The paper provides a good way based on the computer active vision. The slide projector as an active sensor is steered in the principle of the traditional binocular vision. The slide projector could supply the designed texture features to the small relieve, which is easy to be extracted out and matched well because they are clear and stable. The space forward intersection method can compute out the space coordinates of the texture features. The final 3D model is built by connecting the neighbor space points. The 3D modeling of the small relievo based on the computer active vision is proved to be effective and practical by the experimental data and results.

A play is presented.

The aim of this paper is to introduce the reader into the field of didactic means and their use by educators at universities with technical orientation from students´ perspective. To check the status of the two selected universities in the Slovak Republic and one university in the Czech Republic, we conducted a research, which was attended by 194 respondents and its results are presented in this paper.

Two very different pieces of installation art-Vito Acconci's Pornography in the Classroom (1975) and James Coleman's I N I T I A L S (1993-94)-are analyzed using the protocols pioneered at the TechArchaeology Symposium. The Acconci work has two video channels, one with audio soundtrack and a series of slides. It is a conceptual work that was reformatted in 1998. James Coleman's I N I T I A L S has one visual element-slides-with a synchronized audio channel output from four speakers. The differences are between a 25-year-old reformatted conceptual work (Acconci's) and a recent \"structuralist's\" work (Coleman's) that must be kept in its original format for the foreseeable future. This article is a result of TechArchaeology: A Symposium on Installation Art Preservation.