LEADER 04908nam 2200637 450 001 9910137138103321 005 20231106101809.0 010 $a1-119-32996-5 010 $a1-119-32997-3 010 $a1-119-33028-9 035 $a(CKB)3710000000765788 035 $a(EBL)4692006 035 $a(MiAaPQ)EBC4692006 035 $a(Au-PeEL)EBL4692006 035 $a(CaPaEBR)ebr11268668 035 $a(CaONFJC)MIL957428 035 $a(OCoLC)956671578 035 $a(PPN)233751653 035 $a(EXLCZ)993710000000765788 100 $a20160513d2016 uy| 0 101 0 $aeng 135 $aur|n|---||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aInteractions on digital tablets in the context of 3D geometry learning /$fDavid Bertolo 210 1$aHoboken, New Jersey :$cISTE Ltd/John Wiley and Sons Inc,$d2016. 215 $a1 online resource (229 p.) 225 1 $aInformation systems, web and pervasive computing series. Human-machine interaction set ;$v2 225 1 $aTHEi Wiley ebooks 300 $aDescription based upon print version of record. 311 $a1-84821-926-1 327 $aCover; Title Page; Copyright; Contents; Preface; Introduction; I.1. Observations and motivations; I.2. Contributions; I.3. Book outline; 1: Construction of Spatial Representation and Perspective in Students; 1.1. Spatial representation in children according to Piaget; 1.1.1. From perception to representation; 1.1.1.1. Stage I: "synthetic incapacity"; 1.1.1.2. Stage II: "intellectual realism"; 1.1.1.3. Stage III: "visual realism"; 1.1.2. Projective space; 1.1.2.1. Perspective; 1.1.2.2. Developing relationships between perspectives; 1.1.2.3. Nets (folds and surface development) 327 $a1.1.3. Euclidean space1.1.4. Summary; 1.2. The representation of geometric objects: the status of drawings; 1.2.1. Status of drawings in mathematics: drawings versus figures; 1.2.2. Use of geometrical representations; 1.2.2.1. The three geometrical paradigms of Houdemont and Kuzniak; 1.2.2.1.1. Natural geometry (GI); 1.2.2.1.2. Natural axiomatic geometry (GII); 1.2.2.1.3. Axiomatic geometry (GIII); 1.2.2.1.4. Explanation of the different paradigms; 1.2.2.2. Duval's cognitive point of view; 1.2.2.2.1. Iconic visualization; 1.2.2.2.2. Non-iconic visualization; 1.2.2.2.3. Dimensional hiatus 327 $a1.2.3. The three main functions of drawings in geometry1.3. From the physical shape to its planar representation; 1.3.1. The institutional perspective; 1.3.1.1. Primary; 1.3.1.2. Secondary; 1.3.1.3. Summary of secondary curriculums; 1.3.2. Teaching 3D geometry; 1.3.3. Different representations of 3D objects; 1.3.3.1. Models; 1.3.3.2. Planar representations of 3D objects; 1.3.3.2.1. Central perspective; 1.3.3.2.2. Cavalier projections; 1.3.4. The conflict between the SEEN and the KNOWN in children; 1.4. Benefits of new technologies and dynamic 3D geometry 327 $a1.4.1. Advantages of 3D geometry programs1.4.2. Limits of 3D geometry programs and consequences; 1.4.2.1. Construction of a cube with Geospace; 1.4.2.2. Construction of a cube with Cabri-3D; 1.4.3. Partial conclusions and initial hypotheses; 2: Mobile Devices and 3D Interactions; 2.1. Why mobile devices?; 2.1.1. A long-standing tradition in mathematics; 2.1.2. Interest from the educational community; 2.1.3. A field reality; 2.2. Mobile devices; 2.2.1. Different types of mobile devices; 2.2.1.1. Mobile phones/smartphones; 2.2.1.2. Portable video game consoles; 2.2.1.3. Ultra mobile 327 $a2.2.1.4. Tablets2.2.2. Entry systems of mobile terminals; 2.2.2.1. Keyboard / Buttons; 2.2.2.2. Joysticks; 2.2.2.3. Touchscreens; 2.2.2.3.1. A bit of history; 2.2.2.3.2. Capacitive; 2.2.2.3.3. Resistive; 2.2.2.3.4. Infrared; 2.2.2.3.5. Surface waves; 2.2.2.3.6. FTIR (frustrated total internal reflection); 2.2.2.4. Sensors; 2.2.2.5. Camera; 2.2.2.6. Microphone; 2.2.2.7. Our choice; 2.3. Interactions on mobile devices and physiology; 2.3.1. Specificities of mobile devices; 2.3.2. Limitations due to physiologic characteristics; 2.3.2.1. Imprecision of fingers 327 $a2.3.2.2. Characteristics of the hand 410 0$aInformation systems, web and pervasive computing series ;$v2. 410 0$aTHEi Wiley ebooks. 606 $aGeometry$xComputer-assisted instruction 606 $aGeometry$xStudy and teaching 606 $aTablet computers 606 $aThree-dimensional imaging 615 0$aGeometry$xComputer-assisted instruction. 615 0$aGeometry$xStudy and teaching. 615 0$aTablet computers. 615 0$aThree-dimensional imaging. 700 $aBertolo$b David$0964965 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910137138103321 996 $aInteractions on digital tablets in the context of 3D geometry learning$92189331 997 $aUNINA LEADER 04585nam 2201093 a 450 001 9910778470603321 005 20230620212231.0 010 $a1-282-35560-0 010 $a9786612355608 010 $a0-520-90966-6 024 7 $a10.1525/9780520909663 035 $a(CKB)1000000000799768 035 $a(EBL)470949 035 $a(OCoLC)609850091 035 $a(SSID)ssj0000361907 035 $a(PQKBManifestationID)11242453 035 $a(PQKBTitleCode)TC0000361907 035 $a(PQKBWorkID)10353237 035 $a(PQKB)10017743 035 $a(OCoLC)733996994 035 $a(MdBmJHUP)muse31035 035 $a(DE-B1597)519229 035 $a(DE-B1597)9780520909663 035 $a(Au-PeEL)EBL470949 035 $a(CaPaEBR)ebr10676221 035 $a(CaONFJC)MIL235560 035 $a(MiAaPQ)EBC470949 035 $a(EXLCZ)991000000000799768 100 $a19870428d1988 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aInvisible storytellers $evoice-over narration in American fiction film /$fSarah Kozloff 210 1$aBerkeley :$cUniversity of California Press,$d1988. 215 $a1 online resource (178 pages) $cillustrations 311 0 $a0-520-06793-2 320 $aIncludes filmography (p. 141-153). 320 $aIncludes bibliographical references (p. 155-160) and index. 327 $tFrontmatter --$tContents --$tAcknowledgments --$tIntroduction --$t1. The Prejudices against Voice-Over Narration --$t2. Ancestors, Influences, and Development --$t3. First-Person Narrators --$t4. Third-Person Narrators --$t5. Irony in Voice-Over Films --$tConclusion --$tNotes --$tFilmography --$tBibliography of Works Cited --$tIndex 330 $a"Let me tell you a story," each film seems to offer silently as its opening frames hit the screen. But sometimes the film finds a voice-an off-screen narrator-for all or part of the story. From Wuthering Heights and Double Indemnity to Annie Hall and Platoon, voice-over narration has been an integral part of American movies.Through examples from films such as How Green Was My Valley, All About Eve, The Naked City, and Barry Lyndon, Sarah Kozloff examines and analyzes voice-over narration. She refutes the assumptions that words should only play a minimal role in film, that "showing" is superior to "telling," or that the technique is inescapably authoritarian (the "voice of god"). She questions the common conception that voice-over is a literary technique by tracing its origins in the silent era and by highlighting the influence of radio, documentaries, and television. She explores how first-person or third-person narration really affects a film, in terms of genre conventions, viewer identification, time and nostalgia, subjectivity, and reliability. In conclusion she argues that voice-over increases film's potential for intimacy and sophisticated irony. 606 $aVoice-overs 606 $aMotion picture plays, American$xHistory and criticism 606 $aMotion pictures$zUnited States 610 $aadaptation theory. 610 $aadaptations. 610 $aall about eve. 610 $aannie hall. 610 $abarry lyndon. 610 $abook to movie. 610 $adocumentary film. 610 $adouble indemnity. 610 $aexposition. 610 $afilm adaptation. 610 $afilm criticism. 610 $afilm interpretation. 610 $afilm studies. 610 $afilm technique. 610 $afilm theory. 610 $afilm. 610 $afilmmaking. 610 $ahow green was my valley. 610 $aliterature. 610 $amedia. 610 $anaked city. 610 $anarration. 610 $anarrative theory. 610 $anarrative. 610 $anewsreels. 610 $anonfiction. 610 $aopening frames. 610 $aplatoon. 610 $apopular culture. 610 $aradio. 610 $ared river. 610 $asilent film. 610 $astorytelling. 610 $atelevision. 610 $atv. 610 $avoice over. 610 $awuthering heights. 615 0$aVoice-overs. 615 0$aMotion picture plays, American$xHistory and criticism. 615 0$aMotion pictures 676 $a791.43/0973 700 $aKozloff$b Sarah$0625446 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910778470603321 996 $aInvisible storytellers$91220831 997 $aUNINA