Studies on the bit rate requirements for a HDTV format with 1920 timestimes 1080 pixel resolution, progressive scanning at 50 Hz frame rate targeting large flat panel displays

This paper considers the potential for an HDTV delivery format with 1920 times 1080 pixels progressive scanning and 50 frames per second in broadcast applications. The paper discusses the difficulties in characterizing the display to be assumed for reception. It elaborates on the required bit rate of the 1080p/50 format when critical content is coded in MPEG-4 H.264 AVC Part 10 and subjectively viewed on a large, flat panel display with 1920 times 1080 pixel resolution. The paper describes the initial subjective quality evaluations that have been made in these conditions. The results of these initial tests suggest that the required bit-rate for a 1080p/50 HDTV signal in emission could be kept equal or lower than that of 2nd generation HDTV formats, to achieve equal or better image qualit

Spartan Daily, April 6, 1994

Volume 102, Issue 42https://scholarworks.sjsu.edu/spartandaily/8542/thumbnail.jp

The Rise of Reactive and Interactive Video Game Audio

As video games have matured from a technical hobby to a fully-fledged art form, so too have the methods used to create them matured. In tandem with the constant evolution of graphical fidelity, gameplay mechanics, input devices, and storytelling techniques spanning the entire existence of video games, there has also been an evolution in the purpose, and implementation, of music and sound effects. Whereas early video games utilized simple melodies to attract players in arcades, modern video games have grown to utilize audio as a means for storytelling in itself. As the visual component continues to grow more realistic with each gaming generation, equally realistic audio has become increasingly important in creating a cohesive experience for the player. For this reason, many developers have turned to utilizing audio pipelines which allow for expanded mixing and audio processing techniques, resulting in the most immersive interactive audio experiences ever made

Between Codes and Palimpsest: Stephanie Strickland's Dragon Logic

This article will study the impact of programming languages on poetic language in Stephanie Strickland’s print poetry collection Dragon Logic (2013). In this article, I argue that Dragon Logic not only ponders on the changes that occur in contemporary literature with the invasion of digital technologies, but it also articulates via the use of the print form certain concerns relating to the electronic, and finally helps readers reinvent the way one reads a print book. This article follows the theoretical insights provided by N. Katherine Hayles about the connection of natural language and computer code, as well as the different reading practices that are brought forward by computation. Through a selection of close readings of poems in Dragon Logic, I will discuss the layering of codes and how this layering affects the ways natural language is informed by programming language via feedback loops, a process that by extension influences not only human readers but also reading machines.

Ludic yūgen: aesthetic as method in the art of recording

This doctorate has been conducted as a practice-as-research based project, resulting in the submission of the 2 hours of recordings of creative work for examination. The written thesis that accompanies the creative work has a tripartite structure, and follows the model described by Robin Nelson in the text Practice as research in the arts: principles, protocols, pedagogies, resistances (Nelson 2013, p.34). The first section, A Conceptual Framework, outlines the history and theoretical implications of the aesthetic of yūgen, surveying the evolution and etymology of the term and describing the traditional techniques used in classical and medieval Japan to evoke the aesthetic in the fields of poetry, painting and garden design. This section concludes with an investigation of the author‘s creative translation of the aesthetic of yūgen into the methods of ludic yūgen, as used in the author‘s creative praxis. These methods involve the use of miegakure, improvisation, omission, limitations, sparse means and the manipulation of shadows and darkness. The second section, A Location in a Lineage, reviews historical practice in the art of recording which has involved the use of the methods of ludic yūgen. The locating of these methods in the rock genre, specifically in the recordist tradition, is elucidated. The use of the methods of ludic yūgen by recording artists such as The Beatles, David Bowie, Brian Eno, Robert Pollard, the Bomb Squad, Beck, Pixies and others is described, and the researcher‘s creative work is revealed as belonging to an unacknowledged tradition of ludic recordists working in the realm of popular music. In addition, the role of humour in ludic yūgen, the ludic approach to music and the importance of the artist‘s unique voice are delineated. The third and final section of the written thesis is essentially a diary of creative practice, functioning as a linear exegesis that traces the development of the creative work and the evolution of the intellectual context in which that praxis takes place

System models for digital performance

Thesis (M.S.)--Massachusetts Institute of Technology, Program in Media Arts & Sciences, 1998.Includes bibliographical references (leaves 126-128).by Reed Kram.M.S

High-Tech Trash

High-Tech Trash analyzes creative strategies in glitch, noise, and error to chart the development of an aesthetic paradigm rooted in failure. Carolyn L. Kane explores how technologically influenced creative practices, primarily from the second half of the twentieth and first quarter of the twenty-first centuries, critically offset a broader culture of pervasive risk and discontent. In so doing, she questions how we continue onward, striving to do better and acquire more, despite inevitable disappointment. High-Tech Trash speaks to a paradox in contemporary society in which failure is disavowed yet necessary for technological innovation.  “Leonard Cohen sang ‘There’s a crack in everything…that’s how the light gets in.’ Here, Carolyn Kane teaches us how to see that light, one crack at a time.” FRED TURNER, author of The Democratic Surround: Multimedia and American Liberalism from World War II to the Psychedelic Sixties  “Kane profiles art practices and media discourses that exploit and celebrate, rather than filter or suppress, all kinds of errors and noises. A welcome intervention in a number of discursive fields.” PETER KRAPP, author of Noise Channels: Glitch and Error in Digital Culture  “An original work of scholarship that addresses some of the most pervasive phenomena and foundational questions in the contemporary media environment.” ROBERT HARIMAN, coauthor of The Public Image: Photography and Civic Spectatorship  CAROLYN L. KANE is Associate Professor of Communication at Ryerson University and author of Chromatic Algorithms: Synthetic Color, Computer Art, and Aesthetics after Code

High-Tech Trash

High-Tech Trash: Glitch, Noise, and Aesthetic Failure maps an archaeology of failure in a culture seemingly ill-equipped to deal with it. To better understand failure, Kane argues, we must abstract from our subjective, personal disappointments and see them as meaningful symbols of a broader human struggle. By connecting twenty-first century digital aesthetics to critical issues in the history of high-tech, the book elucidates what it means to be an error-prone, fallible human in an age of hyper technology; to fail again and again without recourse to anything but repetition