Storytelling with salient stills

Thesis (M.S.)--Massachusetts Institute of Technology, Program in Media Arts & Sciences, 1996.Includes bibliographical references (p. 59-63).Michale J. Massey.M.S

Software Takes Command

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Software has replaced a diverse array of physical, mechanical, and electronic technologies used before 21st century to create, store, distribute and interact with cultural artifacts. It has become our interface to the world, to others, to our memory and our imagination - a universal language through which the world speaks, and a universal engine on which the world runs. What electricity and combustion engine were to the early 20th century, software is to the early 21st century. Offering the the first theoretical and historical account of software for media authoring and its effects on the practice and the very concept of 'media,' the author of The Language of New Media (2001) develops his own theory for this rapidly-growing, always-changing field. What was the thinking and motivations of people who in the 1960 and 1970s created concepts and practical techniques that underlie contemporary media software such as Photoshop, Illustrator, Maya, Final Cut and After Effects? How do their interfaces and tools shape the visual aesthetics of contemporary media and design? What happens to the idea of a 'medium' after previously media-specific tools have been simulated and extended in software? Is it still meaningful to talk about different mediums at all? Lev Manovich answers these questions and supports his theoretical arguments by detailed analysis of key media applications such as Photoshop and After Effects, popular web services such as Google Earth, and the projects in motion graphics, interactive environments, graphic design and architecture. Software Takes Command is a must for all practicing designers and media artists and scholars concerned with contemporary media

Montage As A Participatory System: Interactions with the Moving Image

Full version unavailable due to 3rd party copyright restrictionsRecent developments in network culture suggest a weakening of hierarchical narratives of power and representation. Online technologies of distributed authorship appear to nurture a complex, speculative, contradictory and contingent realism. Yet there is a continuing deficit where the moving image is concerned, its very form appearing resistant to the dynamic throughputs and change models of real-time interaction. If the task is not to suspend but encourage disbelief as a condition in the user, how can this be approached as a design problem? In the attempt to build a series of design projects suggesting open architectures for the moving image, might a variety of (pre-digital) precursors from the worlds of art, architecture and film offer the designer models for inspiration or adaptation? A series of projects have been undertaken. Each investigates the composite moving image, specifically in the context of real-time computation and interaction. This arose from a desire to interrogate the qualia of the moving image within interactive systems, relative to a range of behaviours and/or observer positions, which attempt to situate users as conscious compositors. This is explored in the thesis through reflecting on a series of experimental interfaces designed for real time composition in performance, exhibition and online contexts

Image and Video Processing: An Ingenious Tool of Story Telling

Right from the existence of Homo sapiens (Humans), storytelling has existed. Primarily in an oral tradition, humans used storytelling as a method of preserving stories, history and cultural traditions of their ancestors. Verbal communication is one of the fundamental form of communication, whether or not humans once communicated with primitive grunts. As humans are social creatures, they use different mediums to communicate which also proves as an evidence of socialism of humans. Consequently, storytelling evolved from stone scripts to the digital and now it is further transforming to the immersive medium format. Different cultures documented their stories, history and also digitised it to preserve it. Aesthetics and content of the storytelling is creatively enhanced with the help of various processes. Image processing; the set of techniques used to modify a digital image in order to improve it (in terms of quality), or to reduce its size or to get information out of it. Digital image processing is a new sector of knowledge that has quickly developed due to the emergence of new information technologies. It simply relies on the information linked with mathematics, signal processing, electronic systems and the development in microprocessor computation capacities. In its early stages digital image processing and its scope of application is quite spread, due to which it has quickly become apparent that a methodology should be created and the domains of application separated out. This research gives spotlight on the analysis of multidimensional role of image and video processing in altering the complete way of contemporary storytelling. It deals with various aspects of audio-visual production process related to video and images. The main purpose of the study was to discuss the techniques and the thought process with respect to the technological aspect in digital storytelling

Software Takes Command

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Software has replaced a diverse array of physical, mechanical, and electronic technologies used before 21st century to create, store, distribute and interact with cultural artifacts. It has become our interface to the world, to others, to our memory and our imagination - a universal language through which the world speaks, and a universal engine on which the world runs. What electricity and combustion engine were to the early 20th century, software is to the early 21st century. Offering the the first theoretical and historical account of software for media authoring and its effects on the practice and the very concept of 'media,' the author of The Language of New Media (2001) develops his own theory for this rapidly-growing, always-changing field. What was the thinking and motivations of people who in the 1960 and 1970s created concepts and practical techniques that underlie contemporary media software such as Photoshop, Illustrator, Maya, Final Cut and After Effects? How do their interfaces and tools shape the visual aesthetics of contemporary media and design? What happens to the idea of a 'medium' after previously media-specific tools have been simulated and extended in software? Is it still meaningful to talk about different mediums at all? Lev Manovich answers these questions and supports his theoretical arguments by detailed analysis of key media applications such as Photoshop and After Effects, popular web services such as Google Earth, and the projects in motion graphics, interactive environments, graphic design and architecture. Software Takes Command is a must for all practicing designers and media artists and scholars concerned with contemporary media

unfolding Thailand: Tourism Promoted by 3D Motion Graphics

Unfolding Thailand is a project that aims to bring a new approach in introducing the country as well as promoting the tourism. My specific scope of this project is to create a visual representation of popular destinations from the northern, central, and southern areas through the use of 3D motion graphics. These three of the six regions in Thailand are chosen because they vary in geography, have a very distinctive characteristic and most importantly, they are the most popular vacation destinations for locals and tourists alike

Combining Biosensing Technology and Virtual Environments for Improved Urban Planning

The Urban Emotions initiative uses biosensing technology to determine how people feel in the city, which is of particular relevance for architecture and urban planning. While past experiments focused more on pedestrian or bicycle traffic, accessibility and wayfinding, this paper proposes the use of virtual models as a basis for human sensorial measurement. Virtual space offers the possibility of minimizing external (environmental) influences to focus on the evaluation of design impressions. Inspiration for the method was ‘Q-sorting’ according to Stephenson (1953) and, in the context of urban planning, Krause (1974). Virtual models of real situations are used to determine whether test participants respond positively or negatively to the architecture or their environment. 360° videos, virtual reality ambience and VR glasses are used as output devices. In this virtual environment, it is possible to create standardized, comparable laboratory situations allowing researchers to draw more reliable and focused conclusions about human responses to their physical environment. The challenge for the future will be to transfer this knowledge of citizens’ responses to the built environment into real design processes