AR Comic Chat

Live speech transcription and captioning are important for the accessibility of deaf and hard of hearing individuals, especially in situations with no visible ASL translators. If live captioning is available at all, it is typically rendered in the style of closed captions on a display such as a phone screen or TV and away from the real conversation. This can potentially divide the focus of the viewer and detract from the experience. This paper proposes an investigation into an alternative, Augmented Reality driven approach to the display of these captions, using deep neural networks to compute, track and associate deep visual and speech descriptors in order to maintain captions as speech bubbles above the speaker

Hating \u27The Korean Wave\u27 comic books: a sign of new nationalism in Japan?

The internet has become an increasingly influential medium throughout East Asia. In this article we examine the case of Kenkanryu (\u27 Hating \u27The Korean Wave\u27 ), a manga published in 2005 in hard copy, but available online as a web comic for many months prior to print publication. We argue that the content, while nationalist, xenophobic, and \u27toxic\u27 is only one of a number of other, media-related reasons for the sales success of this comic in Japan. Other factors are the influence of online chat groups, the web as a means of communicating and selling ideas and products, and the internet-savvy way in which supporters of the views expressed in the comic communicated with online readers. In the context of increasing fears that Japanese youth are becoming more \u27nationalistic\u27 we argue that it is important to examine the medium as much as the message in assessing whether we are witnessing the emergence of a significant and dangerous social movement, or something rather different

Spartan Daily, April 25, 2017

Volume 148, Issue 35https://scholarworks.sjsu.edu/spartan_daily_2017/1033/thumbnail.jp

The popular and the avant-garde: performance, incorporation and resistance

Many modernists in the late nineteenth century harboured a strong suspicion of the emerging mass culture produced for the working classes. Adopting a position similar to Matthew Arnold’s (2009) that culture was the speciality of a cultured few, and not the uneducated working classes, some sought to protect ‘high art’ from ‘low’ mass forms. Modernists associated with the avant-garde, however, do not appear to have held such rigid views; and for Peter Bürger (1984) this is what distinguishes it from modernism. Historical avant-garde artists tended to be more forthcoming about their connections to other cultural forms, not only acknowledging mass and popular culture, but openly co-opting and integrated it into their art. Bürger sees this not only as part of the avant-garde’s resistance to modernism, but its ‘attack on the status of art in bourgeois society’ (1984, 49). In this paper I will interrogate the tensions between these two modernist positions, and will consider the ways that mass and popular culture forms became an important tool for aesthetic experimentation amongst avant-garde artists. I will focus on three distinct areas in which such experimentation occurred: early Parisian cabaret, Futurism and Dada. In doing so, the paper aims to do two things: (1) to demonstrate the fundamental role that popular and mass cultural forms played in the development of avant-garde aesthetics; and (2) to show how, through such appropriation, avant-garde practices intended to critique mass culture, the belief in high and low art categories, and the capitalist system responsible for their production

The Daily Texan

Texas Student Medi