28,656 research outputs found
Creating the on-line documentary: a satellite solution
[Abstract]: The online documentary, A Satellite Solution, is a case study investigation into how digital communications (primarily satellite TV) have impacted the quality of life of a rural community comprising 50 households in southeast Queensland (Australia) between 1999 and 2006. The production depicts a community-mediated process by which these residents adopted and then responded to receiving free-to-air TV services for the first time. The author, instigated and facilitated the project in the community and as well, recorded and produced all the material contained in the in the documentary. The paper will highlight the production components of the research set against the context of this participatory activity.This online documentary is a web site containing research materials (policy documents, significant correspondence and reports) video interviews and location sequences, maps and technical information such as, how to install a satellite system, where to find free-to-air satellite services and what satellite broadband incentives are available etc. Importantly it also represents innovation in film and television and particularly, the researcher's selected art form, the documentary. This paper, takes a practice focus and will document the production of the web site and how this new form impacts on the production style of traditional linear production and as well, what filmmakers working in this emerging non-linear form may need to plan for. This project formed the practical component for a recently completed research degree, Doctor of Visual Arts (Griffith), by the author
Dialectical Polyptych: an interactive movie installation
Most of the known video games developed by important software companies usually establish an
approach to the cinematic language in an attempt to create a perfect combination of narrative,
visual technique and interaction. Unlike most video games, interactive film narratives normally
involve an interruption in time whenever the spectator has to make choices. âDialectical
Polyptychâ is an interactive movie included in a project called âCharacters looking for a spectactorâ, which aims to give the spectator on-the-fly control over film editing, thus exploiting the
role of the spectator as an active subject in the presented narrative. This paper presents an
installation based on a mobile device, which allows seamless real-time interactivity with the
movie. Different finger touches in the screen allow the spectator to alternate between two
parallel narratives, both producing a complementary narrative, and change the angle or shot
within each narrative.info:eu-repo/semantics/publishedVersio
Interactive television or enhanced televisiion? : the Dutch users interest in applications of ITV via set-top boxes
This paper is both an analysis of the phenomenon of interactive television with background concepts of interactivity and television and a report of an empirical investigation among Dutch users of set-top-box ITV. In the analytic part a distinction is made between levels of interactivity in the applications of ITV. Activities labelled as selection, customisation, transaction and reaction reveal low levels of interactivity. They may be called âenhanced televisionâ. They are extensions of existing television programmes that keep their linear character. Activities called production and conversation have the potential of higher interactivity. They may lead to ârealâ interactive television as the user input makes a difference to programmes. It is suggested that so-called hybrid ITVâ TV combined with telephone and email reply channels- and (broadband) Internet ITV offer better opportunities for high interactivity than set-top-box ITV. \ud
The empirical investigation shows that the demand of subscribers to set-top-box ITV in the Netherlands matches supply. They favour the less interactive applications of selection and reaction. Other striking results are that young subscribers appreciate interactive applications more than the older ones and that those with a low level of education prefer these applications more than high educated subscribers. No significant gender differences were found
Multiplatform Public Service Broadcasting: The Economic and Cultural Role of UK Digital and TV Independents
In this report, produced as part of a two-year Arts & Humanities Research Council project (AH-H0185622-2) on âmultiplatform public service broadcastingâ, focusing on factual/specialist factual as a case study, we detail the role independent production companies play in PSB. We set out how PSB informs the production cultures of independent companies, the tensions that are experienced between profit and public service and the impact multiplatform commissioning and production practices have had on the sector
Grand Illusions: Large-Scale Optical Toys and Contemporary Scientific Spectacle
Nineteenth-century optical toys that showcase illusions of motion such as the phenakistoscope, zoetrope, and praxinoscope, have enjoyed active âafterlivesâ in the twentieth and twenty-first centuries. Contemporary incarnations of the zoetrope are frequently found in the realms of fine art and advertising, and they are often much larger than their nineteenth-century counterparts. This article argues that modern-day optical toys are able to conjure feelings of wonder and spectacle equivalent to their nineteenth-century antecedents because of their adjustment in scale. Exploring a range of contemporary philosophical toys found in arts, entertainment, and advertising contexts, the article discusses various technical adjustments made to successfully âscale upâ optical toys, including the replacement of hand-spun mechanisms with larger sources of motion and the use of various means such as architectural features and stroboscopic lights to replace traditional shutter mechanisms such as the zoetropeâs dark slots. Critical consideration of scale as a central feature of these installations reconfigures the relationship between audience and device. Large-scale adaptations of optical toys revise the traditional conception of the user, who is able to tactilely manipulate and interact with the apparatus, instead positing a viewer who has less control over the illusionâs operation and is instead a captive audience surrounded by the animation. It is primarily through their adaptation of scale that contemporary zoetropes successfully elicit wonder as scientific spectacles from their audiences today
The Forking Paths revisited: experimenting on interactive film
Based on the triad film-interactivity-experimentation, the applied research project The
Forking Paths, developed at the Centre for Research in Arts and Communication
(CIAC), endeavours to find alternative narrative forms in the field of Cinema and,
more specifically, in the subfield of Interactive Cinema. The films in the project The
Forking Paths invest in the interconnectivity between the film narrative and the
viewer, who is given the possibility to be more active and engaged. At same time, the
films undertake a research on the development of audio-visual language. The project
is available at an online platform, which aims to foster the creation and web hosting
of other Interactive Cinema projects in its different variables. This article focusses on
the three films completed up to the moment: Haze, The Book of the Dead, and Waltz.info:eu-repo/semantics/publishedVersio
Moveable worlds/digital scenographies
This is the author's accepted manuscript. The final published article is available from the link below. Copyright @ Intellect Ltd 2010.The mixed reality choreographic installation UKIYO explored in this article reflects an interest in scenographic practices that connect physical space to virtual worlds and explore how performers can move between material and immaterial spaces. The spatial design for UKIYO is inspired by Japanese hanamichi and western fashion runways, emphasizing the research production company's commitment to various creative crossovers between movement languages, innovative wearable design for interactive performance, acoustic and electronic sound processing and digital image objects that have a plastic as well as an immaterial/virtual dimension. The work integrates various forms of making art in order to visualize things that are not in themselves visual, or which connect visual and kinaesthetic/tactile/auditory experiences. The âMoveable Worldsâ in this essay are also reflections of the narrative spaces, subtexts and auditory relationships in the mutating matrix of an installation-space inviting the audience to move around and follow its sensorial experiences, drawn near to the bodies of the dancers.Brunel University, the British Council, and the
Japan Foundation
Interpassivity and the joy of delegated play in idle games
This paper examines the youngest video games genre, the so called idle (incremental) game, also referred to as the passive, self-playing or clicker game, which seems to challenge the current understanding of digital games as systems, based on a human-machine interaction where it is the human who actively engages with the system through meaningful choices. Idle games, on the other hand, tend to play themselves, making the playerâs participation optional or, in some cases, entirely redundant. Interactivity and agency â qualities extensively theorised with reference to digital games â are questioned in the context of idling. In this paper the author will investigate the self-contradictory genre through the lens of interpassivity, a concept developed by Robert Pfaller and Slavoj ĆœiĆŸek to describe the aesthetics of delegated enjoyment. This contribution aims at introducing interpassivity to a wider Game Studies community, and offers an alternative perspective to reflect upon digital games in general and self-playing games in particular
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Temporal hybridity: Mixing live video footage with instant replay in real time
Copyright @ 2010 ACMIn this paper we explore the production of streaming media that involves live and recorded content. To examine this, we report on how the production practices and process are conducted through an empirical study of the production of live television, involving the use of live and non-live media under highly time critical conditions. In explaining how this process is managed both as an individual and collective activity, we develop the concept of temporal hybridity to
explain the properties of these kinds of production system and show how temporally separated media are used, understood and coordinated. Our analysis is examined in
the light of recent developments in computing technology and we present some design implications to support amateur video production.The research was partly made possible by a grant from the Swedish Governmental Agency for Innovation Systems to the Mobile Life VinnExcellence Center, in partnership with
SonyEricsson, Ericsson, Microsoft Research, Nokia Research, TeliaSonera and the City of Stockholm
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