1,234 research outputs found

    Sickhouse and the “Snap Cinema”

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    The Migration Of Forms: Bullet Time As Microgenre

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    Rehak considers the ways in which the film The Matrix branded bullet time both as technical process and stylistic convention, and discusses bullet time\u27s ancestry in image experimentation of the 1980s and 1990s. In his analysis, Rehak uses the conceptual framework of the microgenre to explore the cultural lifespan of bullet time, treating it less as a singular special effect than a package of photographic and digital techniques whose fortunes were shaped by a complex interplay of technology, narrative and style. Rehak\u27s goal is to shed light not just on bullet time, but on the changing behavior of visual texts in contemporary media. He examines an overview of special effects scholarship to date, most notably the indication that the repetition of special effects dulls their effectiveness, in part due to the changing competencies of audiences. Rehak also looks at the struggle of the filmmakers of The Matrix to craft sequels that simultaneously preserved bullet time\u27s appeal while varying it enough to ensure another breakthrough

    VIDEOS AUTOEXPLICATIVOS PARA EL MUSEO EGIPCIO DE TURĂŤN

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    [EN] In the present project for the setting of the new Museo Egizio of Turin the “cultural message” has been charged to make a few specific 3D computer graphic (CG) movies, and aims to introduce the topics dealt with the rooms dedicated to queen Nefertari, the chapel of the painter Maia and the tomb of Kha, respectively. In these movies, the passivity of viewing is counteracted with an emotional approach that involves the visitor within an informative path where, despite of the inactive kind of interaction, the viewer is somehow involved in the events because he or she is emotionally invested in them. Thanks to this passive and “self-explaining” approach, the visitor will be enabled to understand the relations between different objects, some of which are not directly visible. Moreover, the visitor will be able to virtually insert the tombs within their original context and above all will have the possibility to visit them as they appeared at the moment of their discovery. This has been made possible thanks the use of integrated technologies of representation, able to enhance the virtualization process to a verisimilar level allowing a hyper-realistic and “participative” vision. The high level of realism of the virtual reconstruction, the visual effects and the cinematographic representation, with added emotions to the scientific contents, positively contribute to the “dreamlike displacement” of the visitor between the real and the virtual dimensions.[ES] En este proyecto para la construcción del nuevo Museo Egipcio de Turín el mensaje cultural fue dado a tres películas específicas en gráficos 3D, destinados a la introducción de los temas tratados en las salas dedicadas a la reina Nefertari, la capilla del pintor Maia y la tumba de Kha. En estas películas, la pasividad de la visión se ve compensado por un enfoque emocional que implica el visitante en un trayecto de información en el que, a pesar de la falta de actividad de disfrute, él es en realidad participante, porque emocionalmente involucrado. Gracias a este método, pasivo y “autoexplicativa” el visitante puede comprender las relaciones entre diferentes objetos, algunos no directamente visibles, como la momia de Kha y su esposa Merit, a ser posible reconstruir las tumbas en su contexto original, pero sobre todo la posibilidad de visitar, gracias a las técnicas de la arqueología virtuales, tales contextos como aparecieron en el momento de su descubrimiento. Todo esto es posible gracias a la utilización de tecnologías integradas para el estudio y la representación, capaz de llevar el proceso de virtualización a un grado de verosimilitud hiperrealista y “participativa”. El alto grado de realismo de las reconstrucciones virtuales, efectos visuales y técnicas de representación cinematográfica, añadiendo emoción al contenido científico, contribuyen positivamente a la “pérdida” del visitante entre el real y el tamaño dimensión virtual.Gabellone, F.; Ferrari, I.; Giuri, F.; Chiffi, M. (2016). SELF-EXPLAINING VIDEOS FOR THE MUSEO EGIZIO IN TURIN. En 8th International congress on archaeology, computer graphics, cultural heritage and innovation. Editorial Universitat Politècnica de València. 132-137. https://doi.org/10.4995/arqueologica8.2016.3550OCS13213

    Movie Editing and Cognitive Event Segmentation in Virtual Reality Video

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    Traditional cinematography has relied for over a century on a well-established set of editing rules, called continuity editing, to create a sense of situational continuity. Despite massive changes in visual content across cuts, viewers in general experience no trouble perceiving the discontinuous flow of information as a coherent set of events. However, Virtual Reality (VR) movies are intrinsically different from traditional movies in that the viewer controls the camera orientation at all times. As a consequence, common editing techniques that rely on camera orientations, zooms, etc., cannot be used. In this paper we investigate key relevant questions to understand how well traditional movie editing carries over to VR. To do so, we rely on recent cognition studies and the event segmentation theory, which states that our brains segment continuous actions into a series of discrete, meaningful events. We first replicate one of these studies to assess whether the predictions of such theory can be applied to VR. We next gather gaze data from viewers watching VR videos containing different edits with varying parameters, and provide the first systematic analysis of viewers' behavior and the perception of continuity in VR. From this analysis we make a series of relevant findings; for instance, our data suggests that predictions from the cognitive event segmentation theory are useful guides for VR editing; that different types of edits are equally well understood in terms of continuity; and that spatial misalignments between regions of interest at the edit boundaries favor a more exploratory behavior even after viewers have fixated on a new region of interest. In addition, we propose a number of metrics to describe viewers' attentional behavior in VR. We believe the insights derived from our work can be useful as guidelines for VR content creation

    Learning by comparing

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    The subject Comparative Architecture, carried out in the MBArch Master of the ETSAB (UPC), proposes the comparison of 10 pairs of images as a methodology for learning architecture. Throughout the course, students elaborate 10 texts in which the multiple relationships established between two architectural or artistic works emerge; highlighting those aspects of both images that otherwise would not have arisen. In this matter, the choice of comparable examples, as well as the historical, stylistic or disciplinary mainstreaming of the works is essential, since they allow establishing relationships that go beyond typological, spatial or temporal patterns and allow very different discourses depending on the chosen 'opponent'. The paper will explain, based on 10 arguments, the teaching methodology implemented during 10 courses taught in Comparative Architecture (2010-2020). A learning system that is, at the same time, an instrument of analysis and a project tool, which aims to sharpen the gaze and the critical sense of the student. From the necessary 'archaeological survey' of disassembling the apparent forms to reassembling them through the comparisons made, concepts such as: version, analogy, contradiction, deformation, transformation, extension, reference, paradox, reminiscent or hyperbole, arise. Terms that are found in the connections that are established between the images and that grant a unitary argument to the personal recomposition that the comparative process entails. As an example, we will explain, among others, the master lines that arise from the mutual enlightening of works such Giuseppe Terragni’s Casa del Fascio in Como (1936) and the Rafael Moneo’s Murcia City Council (1998); the AEG by Peter Behrens (1913) and the Fronleichnamskirche in Aquisgran by Rudolf Schwarz (1930); or the Rotating House drawing by Paul Klee (1921) and the Kal’at Sim’ân Monastery plant in Syria (450-470). Works whose comparison show the mysterious qualities that brought them together.Peer ReviewedPostprint (published version

    Denotative and connotative semantics in hypermedia: proposal for a semiotic-aware architecture

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    In this article we claim that the linguistic-centred view within hypermediasystems needs refinement through a semiotic-based approach before real interoperation between media can be achieved. We discuss the problems of visual signification for images and video in dynamic systems, in which users can access visual material in a non-linear fashion. We describe how semiotics can help overcome such problems, by allowing descriptions of the material on both denotative and connotative levels. Finally we propose an architecture for a dynamic semiotic-aware hypermedia system

    Denotative and Connotative Semantics in Hypermedia: Proposal for a Semiotic-Aware Architecture

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    In this article we claim that the linguistic-centered view within hypermedia systems needs refinement through a semiotic-based approach before real interoperation between media can be achieved. We discuss the problems of visual signification for images and video in dynamic systems, in which users can access visual material in a non-linear fashion. We describe how semiotics can help overcome such problems, by allowing descriptions of the material on both denotative and connotative levels. Finally we propose an architecture for a dynamic semiotic-aware hypermedia system

    Mosaic narrative a poetics of cinematic new media narrative

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    This thesis proposes the Poetics of Mosaic Narrative as a tool for theorising the creation and telling of cinematic stories in a digital environment. As such the Poetics of Mosaic Narrative is designed to assist creators of new media narrative to design dramatically compelling screen based stories by drawing from established theories of cinema and emerging theories of new media. In doing so it validates the crucial element of cinematic storytelling in the digital medium, which due to its fragmentary, variable and re-combinatory nature, affords the opportunity for audience interaction. The Poetics of Mosaic Narrative re-asserts the dramatic and cinematic nature of narrative in new media by drawing upon the dramatic theory of Aristotle’s Poetics, the cinematic theories of the 1920s Russian Film Theorists and contemporary Neo-Formalists, the narrative theories of the 1960s French Structuralists, and the scriptwriting theories of contemporary cinema. In particular it focuses on the theory and practice of the prominent new media theorist, Lev Manovich, as a means of investigating and creating a practical poetics. The key element of the Poetics of Mosaic Narrative is the expansion of the previously forgotten and undeveloped Russian Formalist concept of cinematurgy which is vital to the successful development of new media storytelling theory and practice. This concept, as originally proposed but not elaborated by Kazansky, encompasses the notion of the creation of cinematic new media narrative as a mosaic – integrally driven by the narrative systems of plot, as well as the cinematic systems of visual style created by the techniques of cinema- montage, cinematography and mise-en-scene
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