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

Thinking with the work: art practice and digital cultural heritage

As a laboratory for articulating new imaginaries, art practice has been engaging with the digital for some decades. It has explored the technically mediated relationship between time, data, memory, perception and representation. Asking what is possible to learn, feel and experience in the encounter with the artwork, the viewer is placed in a visual, haptic and affective relation to the digital image. I will propose that a digital artwork, David Claerbout’s ‘Olympia: The real time disintegration into ruins of the Berlin Olympic stadium over the course of a thousand years’ (2016) might help us reflect on the simulation of heritage objects as forms of knowledge production and critical research practice. More than this, we might see the work as a complex of many information registers; as scientific, cultural and historical data, brought to visibility in the guise of an image. I will consider the complex temporalities that coexist in the work, the materiality of the digital object itself and the materialities to which the work refers. Precariousness and duration are integral not only to the work’s themes, but also to its own preservation as a digital cultural object. Its trans disciplinary nature means it may not be possible to categorise the work in terms of media: it is game software, architectural simulation, real time climate data visualisation, speculative model. Meanwhile the work appears to us to be a film projection; one haunted by other films, other architectural models, other speculations. Accessible only in the immediate presence / present of its viewing, the viewer confronts their own apprehension of how histories and futures are understood. It is in this hybridity that potential opens for an epistemology of digital objects, where we might ‘think-with’ the artwork itself as a source of insight

Mobile and web tools for participative learning

Dissertação apresentada na Faculdade de Ciências e Tecnologia da Universidade Nova de Lisboa, para a obtenção do grau de Mestre em Engenharia InformáticaThe combination of different media formats has been a crucial aspect on teaching and learning processes. The recent developments of multimedia technologies over the Internet and using mobile devices can improve the communication between professors and students, and allow students to study anywhere and anytime, allowing each student progress at its own pace. The usage of these new platforms and the increase of multimedia sharing applied to educational environments allow a more participative learning, and make the study of interfaces a relevant aspect of existing multimedia learning systems. The work done in this dissertation explores interfaces and tools for participative learning,using multimedia educational systems over Internet broadband and mobile devices. In this work, aWeb-based learning system was developed, which enables to store, transmit, search and share the contents of courses captured in video and its extension to support Tablet PCs. The Web system, developed as part of the VideoStore project, explores video interfaces and video annotations, which encourage the participative work. The usage of Tablet PCs, through the mEmLearn project, has the aim to encourage the participative work, allowing the students to augment the course materials and to share them with other students or instructors

The harmonious coexistence of sound and image for efficient audiovisual communication: the case of Kairos Communications LTD

Relatório de estágio de mestrado em Ciências da Comunicação (área de especialização em Audiovisual e Multimédia)The present report is the result of a three-month traineeship at the Kairos Communications LTD in Maynooth, Ireland, which has long experience in cultural and religious sound and video productions, being an opportunity to practice audio-visual and multimedia knowledge acquired at the University of Minho. Although the traineeship was focused on production and post-production of contents, the Kairos Outside Broadcasting Unit was a big asset to improve technical skills. Based on the empirical experience acquired in the internship, this report is focused on the harmonious coexistence of sound and image for an efficient audio-visual communication. Sound and image corelates with each other as complementary elements in many digital media contents of today’s different digital platforms and applications. The increasing access to smartphones with great capabilities to record, edit ad share sound and image has turn most of the users into content producers, so that today, any cultural, politic, or social event has most probably someone catching sound or image. From the knowledge acquired with the research, an overview on the development of communication in the Democratic Republic of Congo is presented. Oral tradition has been the instrument to pass on knowledge to younger generations or convey information to the public. The development of communication in the Democratic Republic of Congo is linked to the former colonial power (Belgium) and France. France provided formation as well as equipment to update former radio journalists to the television that had been invading most of the world as an instrument of national pride. In fact, the development of media, mostly the radiobroadcast in the beginning, and then the television, was a great instrument of political propaganda for the newly independent African countries. Every country setup a radiobroadcast to free oneself from any other dependency. It was conceived as a great instrument to disseminate ideologies to the population. The forms of communication (verbal, non-verbal, written, etc.), the power and revolution of words and images in the world and in Africa, and the evolution in Congo, from oral to digital communication, are the focus of this report, which tries to understand what had led the Democratic Republic of Congo to the new media environment and where word and image intermingleO presente relatório é o resultado de um estágio de três meses na Kairos Communications LTD em Maynooth, Irlanda, que possui uma longa experiência em produções culturais e religiosas de som e vídeo, sendo uma oportunidade para praticar conhecimentos audiovisuais e multimédia adquiridos na Universidade do Minho. Embora o estágio tenha sido focado na produção e pós produção de conteúdos, a Kairos Outside Broadcasting Unit foi um grande ativo para o aperfeiçoamento das habilidades técnicas. Com base na experiência empírica adquirida no estágio, este relatório centra-se na coexistência harmoniosa de som e imagem para uma comunicação audiovisual eficiente. Som e imagem correlacionam-se entre si como elementos complementares em muitos conteúdos de média digital das diferentes plataformas e aplicativos digitais de hoje. O crescente acesso a smartphones com grandes recursos para gravar, editar e partilhar som e imagem transformou a maioria dos utilizadores em produtores de conteúdo, sendo que hoje, qualquer evento cultural, político ou social tem muito provavelmente alguém a captar o som ou a imagem. A partir dos conhecimentos adquiridos com a pesquisa realizada, é apresentado um panorama sobre o desenvolvimento da comunicação na República Democrática do Congo. A tradição oral tem sido o instrumento para passar conhecimento às gerações mais novas ou levar informações ao público. O desenvolvimento da comunicação na República Democrática do Congo está ligado à ex-potência colonial (Bélgica) e à França. A França forneceu formação e também equipamento para atualizar os ex-jornalistas de rádio sobre a televisão que vinha invadindo a maior parte do mundo como um instrumento de orgulho nacional. Na verdade, o desenvolvimento dos média principalmente a radiodifusão no início, e depois a televisão, foi um grande instrumento de propaganda política para os países africanos recém-independentes. Cada país estabelece uma transmissão de rádio para se libertar de qualquer outra dependência. Foi concebido como um grande instrumento de divulgação de ideologias para a população. As formas de comunicação (verbal, não verbal, escrita, etc.), o poder e a revolução das palavras e imagens no mundo e em África, e a evolução no Congo, da comunicação oral à digital, são o foco deste relatório, que procura compreender o que levou a República Democrática do Congo ao novo ambiente mediático no qual a palavra e a imagem misturam-se.Part of this work was supervised in the scope of the project “Audire - Audio Repository: saving sonic-based memories”, co-funded by the Operational Programme for Competitiveness and Internationalization and by the Portuguese Foundation of Science and Technology (PTDC-COM-CSS/32159/2017). This has instructed the theoretical framework of the present work, specifically on the role of sound and its relationship with image, in the evolution of the communication models and the respective emancipation of communities in the Democratic Republic of Congo

The cartographies of place: Approaches to audio-visual composition incorporating aspects of place

Incorporating aural and visual elements of a place in a composition serves as a powerful way of exploring the intersection of time, history and geography associated with a location. The combination of these elements acts as an invitation for deeper engagement by offering multiple perspectives of place. One way of exploring these intersections is through incorporating aspects of place—in the form of field recordings, field footage and cartographical information—into audio and audio-visual work, where spatial and physical information can be situated as a way of representing an individual’s surroundings and subjective realities of place. This practice-led exegesis aims to explore how sound and visual elements can combine and resonate with each other, and how such a practice can highlight the connections between artist and place. As part of this exploration, this exegesis discusses a portfolio of works (submitted as part of the examinable thesis) highlighting the connections between artist, history and place, and how these aspects can inform the creation of new work. Methods explored include framing personal and sono-environmental reflections in terms of looking inwards (as a reflection on the self) and looking outwards (as a reflection on the history, cultural significance and geospatial features of place), composition with original and modified field recordings, sonification of maps using graphical sequencing software, and the creation of audio-visual works that additionally combine field footage and music visualisation. These methods for composition provide a powerful way of highlighting personal associations, emotional catharsis and memories of place, by centring personal experience. Through these methods, this exegesis seeks to demonstrate a number of strategies to show how the ephemerality of sound reflects the ephemerality of being, and the fragility inherent in any relationship with place

Protocol use of audiovisual equipment

El documento contiene claves para entender el lenguaje audiovisual como instrumento de comunicación capaz de transmitir una variedad de mensajes a diversos tipos de público, se describen las etapas de la producción audiovisual desde la idea, el guión hasta la edición del vídeo y la configuración y evaluación en una plataforma para su visualización.The document contains keys to understand the audiovisual language as a communication instrument capable of transmitting a variety of messages to different types of public, the stages of audiovisual production are described from the idea, the script to the video editing and the configuration and evaluation on a platform for viewing.Introduction -- Elements of audiovisual language -- Scene, Sequence and capture. -- Scenes or plans -- Camera Movements -- Camera angles -- Practical exercises -- Roles -- Pre-production -- Screenplay -- Shooting script. -- Storyboard. 1-- How to do an interview? -- Audiovisual Equipment -- Bibliographical references -- Contactna28 página

A Practical Study of the Role of the Cinematographer

The following thesis describes the development and process of the responsibilities and skills necessary for a director of photography in the motion picture industry. Pre-production and production aspects pertaining to experiences as a cinematographer are covered. Furthermore, the progression of learning about the field of cinematography is explained through personal examples of logistical, technical, and artistic requirements on both short and feature student films. Storyboards are included in the appendices

Editing architecture: architect as mediumistic being

The creation of architecture is based on the relationship the designer has with media. Making media requires both a technical proficiency and a capacity to understand how the medium itself informs the architect and the creative work. I will explore through this thesis how the creation of media is not only a metaphor for the process of architecture, but the act of architecture itself. In addition to the making of media, this work will analyze editing media as a provocative interface of design. Finally, this work will focus on digital media-specifically digital video and the opportunities it may have to inform architecture and the education of architects. Based on the assumption that architecture itself is in fact media, the building itself, is merely a by-product of the process undergone through the manipulation of media. Given this perspective, the product can become different based on the media used in its creation. Architectural media can be created in many formats and for the sake of focus this work will concentrate on video, the manipulation of video, and the conceptual link between video editing and the making of architecture. Of the various forms of media that exist in contemporary culture, video and the manipulation of video stand out as an untapped resource for architecture. Architecture has an opportunity to benefit from moving images-how these images inform spatial perception, how the series of images may represent time and how relationships between spaces and ideas can be articulated through this medium. While the visual benefits of video may seem obvious, the way video is constructed offers another way to access an understanding of idea generation

The Video Deposition as a Civil Litigation Tool

This Comment reports the findings of a research project on the video deposition\u27s place in litigation. Professor Thomas P. Anderson, Norman Adrian Wiggins School of Law, supervised the project. The paper looks at video depositions from three perspectives. The first perspective outlines 30(b)(4)\u27s evolution through the court\u27s interpretation of the rule. The second perspective synthesizes the many suggestions on video deposition production found in legal journals. The third perspective analyzes and collates empirical data collected from attorneys and jurors who participated in nine civil trials which used video depositions in the North Carolina Superior Court system. The empirical data also include data supplied by forty North Carolina Superior Court judges about video deposition use in their courts