scholarly journals The positioning in 20’’: the self-promotion of the television networks

Comunicar ◽  
2005 ◽  
Vol 13 (25) ◽  
Author(s):  
Lorena López-Font ◽  
Cristina González-Oñate
Keyword(s):  
Point Of View ◽  
The Self ◽  
Positive Image ◽  
The Spectator ◽  
A Chain

The Spanish televising scene is, at the present time, the center of a social and cultural discussion.Before the critic carried out towards as daily means as it is it the television, are many, (including the hearing), those that demand a reform that structures all the televising scene with the purpose of constructing an educative television and of quality. But, what it is happening from the point of view of the own television networks before the critical panorama which they face?. Which is its reaction, its strategies and their techniques to create a positive image of the own means and, most important, to transmit it to the spectator and to seduce to him?. The television networks have chosen to reframe their identity to reform the image that grant to the hearing. They have begun to be unmarked, to create a differentiating positioning before a hearing that every day is more demanding due to the supply that the technology offers to him. One of the most effective instruments fortify a position, to consolidate a position of the television companies before a heterogenous and more and more complex hearing, is the development of the televising continuity, with peculiar discursivas forms like cardboards of continuity, self-promotions, heads of programs, syntonies, bursts, etc., that contribute to fix the image of mark of the different companies, before the eyes of the spectator. This communication will be placed in the plane of the televisions like organizations to reflect from the side of televising means before the emergent problems, and to analyze the methods that are carrying out the different chains to create that positioning that differentiates from the others, centering to us in the autopromociones like the used advertising tool more, nowadays, by the television networks. The transmitted values, the corporative image and communicative identity and, really, all those aspects that in the autopromociones are expressed, will be analyzed to be able to understand the reactions caused by the chains of the Spanish televising panorama. In sum: 20 seconds of publicity of self-promotion so that a chain can transmit a new image, full of positive values for a society that, nowadays, questions own televising means, that is to say, to analyze how the televising means make use of its own channel to trasmitir and to create value of mark. El panorama televisivo español se encuentra, desde su pasado reciente hasta la actualidad, en el centro de un debate social y cultural. La audiencia, reclama ya, una reforma de contenidos que construya una televisión con mayor diversidad y equilibrio de contenidos. Esa audiencia alza la voz ante la evidente necesidad de recibir una televisión de mayor calidad. Pero, ¿qué está ocurriendo desde el punto de vista de las propias cadenas de televisión ante el panorama crítico al que se enfrentan? ¿Cuál es su reacción, sus estrategias y sus técnicas para crear una imagen positiva del propio medio? y, lo más importante para esta comunicación, ¿cómo están transmitiéndola al espectador para seducirle? Las cadenas de televisión han optado por replantearse su identidad con el objetivo de reformar la imagen que otorgan a la audiencia. Han comenzado a desmarcarse, a crear un posicionamiento diferenciador ante segmentos de audiencias que cada día son más exigentes debido a la saturación de la oferta. Uno de los instrumentos más efectivos para consolidar la posición de las empresas de televisión ante una audiencia cada vez más heterogénea y compleja, es el desarrollo de la continuidad televisiva, con formas discursivas peculiares como los cartones de continuidad, autopromociones, cabeceras de programas, sintonías, ráfagas, etc., que contribuyen a fijar la imagen de marca de las distintas empresas audiovisuales, ante los ojos del espectador. Esta comunicación se colocará en el plano de las televisiones como entidades para reflexionar desde el lado del medio televisivo ante los problemas emergentes, y analizar los métodos que están llevando a cabo las diferentes cadenas para crear ese posicionamiento que diferencie las unas de las otras, centrándonos en las autopromociones como la herramienta publicitaria más usada, hoy en día, por las cadenas de televisión. Los valores transmitidos, la imagen e identidad corporativas y, en definitiva, todos aquellos aspectos comunicativos que en las autopromociones se expresan, serán analizados para poder entender las reacciones provocadas por las cadenas del panorama televisivo español. En suma: 20 segundos de publicidad de autopromoción para que una cadena pueda transmitir una imagen nueva, llena de valores positivos para una sociedad que, hoy en día, cuestiona el propio medio. Concretamente y con esta investigación, se analizarán las últimas telepromociones de TVE-1, es decir, cómo esta cadena trasmite y crea valor de marca.

Do Event-Related Brain Potentials Reflect Mental (Cognitive) Operations?

2002 ◽  
Vol 16 (3) ◽  
pp. 129-149 ◽  
Author(s):  
Boris Kotchoubey
Keyword(s):  
Cognitive Processes ◽  
Point Of View ◽  
Internal Variables ◽  
Brain Potentials ◽  
Cognitive Operations ◽  
External Variables ◽  
Series Of Experiments ◽  
Mental Operations ◽  
A Chain ◽  
Processing Mechanisms

Abstract Most cognitive psychophysiological studies assume (1) that there is a chain of (partially overlapping) cognitive processes (processing stages, mechanisms, operators) leading from stimulus to response, and (2) that components of event-related brain potentials (ERPs) may be regarded as manifestations of these processing stages. What is usually discussed is which particular processing mechanisms are related to some particular component, but not whether such a relationship exists at all. Alternatively, from the point of view of noncognitive (e. g., “naturalistic”) theories of perception ERP components might be conceived of as correlates of extraction of the information from the experimental environment. In a series of experiments, the author attempted to separate these two accounts, i. e., internal variables like mental operations or cognitive parameters versus external variables like information content of stimulation. Whenever this separation could be performed, the latter factor proved to significantly affect ERP amplitudes, whereas the former did not. These data indicate that ERPs cannot be unequivocally linked to processing mechanisms postulated by cognitive models of perception. Therefore, they cannot be regarded as support for these models.

Sentimental Conviction: Rousseau’s Apologia and the Impartial Spectator

2018 ◽  
Author(s):  
Adam Schoene
Keyword(s):  
The Self ◽  
Careful Study ◽  
Moral Sentiments ◽  
Impartial Spectator ◽  
Direct Discourse ◽  
Rhetorical Device ◽  
The Spectator ◽  
Theory Of Moral Sentiments

Where Adam Smith’s The Theory of Moral Sentiments (1759) extends the domain of spectatorship beyond the ocular realm and claims that we must become the impartial spectators of our own character and conduct, Jean-Jacques Rousseau’s Rousseau juge de Jean-Jacques, Dialogues (1776) also attempts to probe beyond the visual surface to examine through careful study the constitution of another, who is actually himself. This chapter traces a Smithian sentiment in the radical division of the self dramatized in Rousseau’s fictional autobiographical Dialogues, emphasizing Rousseau’s attempt to liberate his own gaze and render an unbiased judgment upon himself. Although Rousseau does not write in direct discourse with Smith, he applies a strikingly similar rhetorical device to the spectator within the dialogic structure of his apologia. Reading Rousseau alongside Smith resituates the Dialogues not as a work of madness, as it has frequently been interpreted, but rather as an unrelenting struggle for justice.

Persuasion: Fellow Creatures

2017 ◽  
Author(s):  
Pam Morris
Keyword(s):  
The Self ◽  
The Novel ◽  
Class Relations ◽  
Narrative Perspective ◽  
Class Hierarchies ◽  
A Chain ◽  
Porous Boundaries

Persuasion overtly foregrounds the self as embodied: physical accidents and sickness are recurrent. Sir Walter Eliot’s belief in the time-defying bodily grace of nobility is subject to Austen’s harshest irony. The transition from vertically ordered place to horizontal space in Persuasion is more extreme than in any other of the completed novels. Anne Elliot’s movement from social exclusiveness to socially inclusive possibility allows Austen to challenge gender and class hierarchies traditionally held to be inborn. Her writerly experimentation expands the possibilities of narrative perspective to encompass the porous boundaries of the physical, the emotional and the rational that constitute any moment of consciousness. Her focalisation techniques in the text look directly towards Woolf’s stylist innovations. A chain of references to guns and shooting gathers into the novel contentious contemporary discursive networks on class relations, notions of masculinity and the nature of creaturely life.

Spectator View: Enabling Asymmetric Interaction between HMD Wearers and Spectators with a Large Display

2021 ◽  
Vol 5 (ISS) ◽  
pp. 1-17
Author(s):  
Finn Welsford-Ackroyd ◽  
Andrew Chalmers ◽  
Rafael Kuffner dos Anjos ◽  
Daniel Medeiros ◽  
Hyejin Kim ◽  
...  
Keyword(s):  
Virtual World ◽  
Large Scale ◽  
User Study ◽  
Point Of View ◽  
Virtual Camera ◽  
Head Mounted Display ◽  
Joint Task ◽  
Reference Space ◽  
Collaborative Interaction ◽  
The Spectator

In this paper, we present a system that allows a user with a head-mounted display (HMD) to communicate and collaborate with spectators outside of the headset. We evaluate its impact on task performance, immersion, and collaborative interaction. Our solution targets scenarios like live presentations or multi-user collaborative systems, where it is not convenient to develop a VR multiplayer experience and supply each user (and spectator) with an HMD. The spectator views the virtual world on a large-scale tiled video wall and is given the ability to control the orientation of their own virtual camera. This allows spectators to stay focused on the immersed user's point of view or freely look around the environment. To improve collaboration between users, we implemented a pointing system where a spectator can point at objects on the screen, which maps an indicator directly onto the objects in the virtual world. We conducted a user study to investigate the influence of rotational camera decoupling and pointing gestures in the context of HMD-immersed and non-immersed users utilizing a large-scale display. Our results indicate that camera decoupling and pointing positively impacts collaboration. A decoupled view is preferable in situations where both users need to indicate objects of interest in the scene, such as presentations and joint-task scenarios, as it requires a shared reference space. A coupled view, on the other hand, is preferable in synchronous interactions such as remote-assistant scenarios.

Vídeo experimental e autorretrato

2021 ◽  
Author(s):  
Filomena Antunes Sobral ◽  
Daniela Morgado Oliveira
Keyword(s):  
Crucial Role ◽  
Point Of View ◽  
The Self ◽  
Self Awareness ◽  
Cindy Sherman ◽  
Artistic Creation ◽  
Multiple Variable ◽  
The Relationship ◽  
Theoretical Foundations ◽  
Creative Production

In the development of the relationship between the artist and his artistic creation, the deconstruction of concepts and ideas within the scope of artistic praxis leads to the reflection of the crucial role that the artist has in the conception and meaning of the work. His creative production, in turn, appropriates not only the expressive force of the author to assert itself as an artistic creation, but can also assume to be the reflection of the self, its identity and materializes in the form of self-portrait. The self-portrait expands the artist’s interiority, externalizing concerns and questions, and conveys a subjective point of view about himself and his view of art. But how does self-portrait contribute to self-awareness? And how does the artist reveal himself and communicate beyond his appearance?Based on these questions, the objective of this paper is to provide a reflection on self-portrait presenting the results of an artistic installation project that involved photographic language in the form of self-portrait and experimental video to represent feelings of disquiet. Influences such as Cindy Sherman, Lais Pontes or Francesca Woodman, whose creations approach the self-portrait in a not only original, but critical style, stand out.It is a project of academic and artistic nature supported by theoretical foundations. The results allow us to conclude that the artistic installation, which began by presenting a self-portraying self-seeking identity, frees itself from its creator to enhance multiple variable interpretations depending on the observer’s attention.

scholarly journals DE NARCISO A ORFEO. ALTERIDAD NARRATIVA Y ESPECTATORIAL EN TWIN PEAKS. THE RETURN DE DAVID LYNCH

2021 ◽  
Vol 30 ◽  
pp. 323
Author(s):  
Víctor ITURREGUI-MOTILOA
Keyword(s):  
Point Of View ◽  
The Other ◽  
David Lynch ◽  
Twin Peaks ◽  
The Spectator

Resumen: Este artículo propone un estudio de la alteridad y la ficción en la serie Twin Peaks. The Return. Realizaremos un estudio de las decisiones formales y narrativas como procesos de significación, con el análisis fílmico y narratológico como herramienta. El trabajo se centra en la construcción del punto de vista y la identificación del espectador. El motivo de los mundos y figuras duplicadas desarrollado por David Lynch en su cine alcanza su acmé en la ficción televisiva. Además, estas ideas se materializan en la revisión de dos de los mitos clásicos sobre la relación con el Otro: Orfeo y Narciso.Abstract: This paper consists on a study of alterity and fiction in Twin Peaks. The Return. It will discuss the formal and narrative decisions as forms of signification, using film and narratological analysis. This research will pay attention to the construction of the point of view and to the identification of the spectator towards these images. The classical themes on lynchean films, such as alternative and duplicate worlds and figures, sublimate in TV fiction. Moreover, these ideas are represented by reinterpreting two myths related to the Other: Orpheus and Narcissus.

scholarly journals THE BODY IN THE HISTORY OF WESTERN EUROPEAN AND RUSSIAN THEATRE: CULTURAL VARIABILITY OF SHAME

Articult ◽  
2021 ◽  
pp. 19-31
Author(s):  
Leila F. Salimova ◽  
◽  
Keyword(s):  
Scientific Knowledge ◽  
Performing Arts ◽  
Point Of View ◽  
The Body ◽  
Ethical Aspect ◽  
Close Relationship ◽  
History Of ◽  
The Spectator ◽  
The Aesthetic ◽  
Considerable Body

Modern scientific knowledge approaches the study of the physical and aesthetic bodies with a considerable body of texts. However, on the territory of the theater, the body is still considered exclusively from the point of view of the actor's artistic tools. Theatrical physicality and the character of physical empathy in the theater are not limited to the boundaries of the performing arts, but exist in close relationship with the visual and empirical experience of the spectator, performer, and director. The aesthetic and ethical aspect of the attitude to the body in the history of theatrical art has repeatedly changed, including under the influence of changing cultural criteria of "shameful". The culmination of the demarcation of theatrical shame, it would seem, should be an act of pure art, independent of the moral restrictions of society. However, the experiments of modern theater continue to face archaic ethical views. The article attempts to understand the cultural variability of such a phenomenon as shame in its historical and cultural extent using examples from theater art from antiquity to the present day.

scholarly journals Telling the Untellable: Negotiating Maternal Bereavement in Sophie Daull's Camille, mon envolée (2015)

2019 ◽  
Vol 19 (1) ◽  
pp. 165-185
Author(s):  
Julie Rodgers
Keyword(s):  
Bacterial Infection ◽  
Social Impact ◽  
Point Of View ◽  
The Self ◽  
Traumatic Loss ◽  
Death Scene ◽  
Self Blame ◽  
Mother Figure ◽  
Maternal Motivation ◽  
Insight Into

Sophie Daull's Camille, mon envolée (2015) is an autobiographical depiction of the sudden and traumatic loss of an only daughter (Camille) due to an undetected fatal bacterial infection. It is recounted uniquely from the maternal point of view and directly addresses the daughter throughout. It concerns an incredibly recent bereavement as the writing of the text, the author tells us, commences just one week after the daughter's death. Camille, mon envolée is a markedly intimate and brutally honest account of a mother who is an active witness to and, one could argue, participant in her daughter's agonizing death scene. The text captures the sense of powerlessness that is experienced by the mother, the incomprehensibility of the loss, the self-blame, and, finally, the coming to terms with it and the learning to live on, not without guilt, however. It also offers insight into maternal motivation for writing such a text, ranging from a quest for understanding and an outlet for grief, to a desire to preserve the daughter's memory. Furthermore, through close examination of the physical, psychological and social impact of the death of a child on mother figure subjectivity, Camille mon envolée successfully traces out for the reader the very specific characteristics of maternal bereavement and its overwhelmingly embodied nature. Finally, the text represents an engagement on the part of the grieving mother with what has been termed 'scriptotherapy' in a bid to negotiate this trauma and find a means, not only of remembering the daughter, but also of surviving the tragedy. In this respect, Camille, mon envolée is a text of resistance, where the unthinkable is confronted and the untellable bravely told.

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