JuxtaLearn DELIVERABLE Report D3.5 Service scenario documentation

The purpose of Deliverable 3.5 is to provide guidelines to creating juxtaposed performance, particularly to advise non-drama teachers on what to do and how to manage performance in stage 3 of the JuxtaLearn process. Building on pedagogies of threshold concepts and juxtaposed learning, it explains the performance steps, orchestrating learning through participative video making and story making with peers. It provides guidance for teachers, offering resources that include suggested lesson plans and example timings. Thus, in the absence of a shared touchable with JuxtaLearn software, it suggests a practical additional and alternative to using the software of WP4 touch table

"Sitting too close to the screen can be bad for your ears": A study of audio-visual location discrepancy detection under different visual projections

In this work, we look at the perception of event locality under conditions of disparate audio and visual cues. We address an aspect of the so called “ventriloquism effect” relevant for multi-media designers; namely, how auditory perception of event locality is influenced by the size and scale of the accompanying visual projection of those events. We observed that recalibration of the visual axes of an audio-visual animation (by resizing and zooming) exerts a recalibrating influence on the auditory space perception. In particular, sensitivity to audio-visual discrepancies (between a centrally located visual stimuli and laterally displaced audio cue) increases near the edge of the screen on which the visual cue is displayed. In other words,discrepancy detection thresholds are not fixed for a particular pair of stimuli, but are influenced by the size of the display space. Moreover, the discrepancy thresholds are influenced by scale as well as size. That is, the boundary of auditory space perception is not rigidly fixed on the boundaries of the screen; it also depends on the spatial relationship depicted. For example,the ventriloquism effect will break down within the boundaries of a large screen if zooming is used to exaggerate the proximity of the audience to the events. The latter effect appears to be much weaker than the former

Automatic Recognition of Film Genres

Film genres in digital video can be detected automatically. In a three-step approach we analyze first the syntactic properties of digital films: color statistics, cut detection, camera motion, object motion and audio. In a second step we use these statistics to derive at a more abstract level film style attributes such as camera panning and zooming, speech and music. These are distinguishing properties for film genres, e.g. newscasts vs. sports vs. commercials. In the third and final step we map the detected style attributes to film genres. Algorithms for the three steps are presented in detail, and we report on initial experience with real videos. It is our goal to automatically classify the large body of existing video for easier access in digital video-on-demand databases

Design in Motion: An Animated Study

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Designing a Program using Augmented Reality Technologies and some Interactive Educational Aids to Simplify Science of Remote sensing for Elementary School Students

The present research aims to develop innovative methods that simplify science. The author adopts the descriptive analytical approach by designing an electronic educational system that involve some electronic games that contribute to spreading awareness and culture of sensing and space in the Egyptian society. Teaching methods have been devised to motivate children and develop their skills, mix science with imagination and use interactive education based on Augmented Reality (AR) to search for minerals and rocks with satellite images. Thus, there is an interactive educational method based on augmented reality with cartoons and interaction to simplify sensor and space sciences. Augmented reality (AR) has gained increased recognition in various fields; learning via augmented reality technology will help learners comprehend learning content in a more creative frame of mind than ever before. It is substantial to understand the dynamics of augmented reality adoption to encourage students to employ this highly innovative and impactful type of technology in learning process

Crowdsourcing in Computer Vision

Computer vision systems require large amounts of manually annotated data to properly learn challenging visual concepts. Crowdsourcing platforms offer an inexpensive method to capture human knowledge and understanding, for a vast number of visual perception tasks. In this survey, we describe the types of annotations computer vision researchers have collected using crowdsourcing, and how they have ensured that this data is of high quality while annotation effort is minimized. We begin by discussing data collection on both classic (e.g., object recognition) and recent (e.g., visual story-telling) vision tasks. We then summarize key design decisions for creating effective data collection interfaces and workflows, and present strategies for intelligently selecting the most important data instances to annotate. Finally, we conclude with some thoughts on the future of crowdsourcing in computer vision.Comment: A 69-page meta review of the field, Foundations and Trends in Computer Graphics and Vision, 201

Animating Film Theory

Animating Film Theory provides an enriched understanding of the relationship between two of the most unwieldy and unstable organizing concepts in cinema and media studies: animation and film theory. For the most part, animation has been excluded from the purview of film theory. The contributors to this collection consider the reasons for this marginalization while also bringing attention to key historical contributions across a wide range of animation practices, geographic and linguistic terrains, and historical periods. They delve deep into questions of how animation might best be understood, as well as how it relates to concepts such as the still, the moving image, the frame, animism, and utopia. The contributors take on the kinds of theoretical questions that have remained underexplored because, as Karen Beckman argues, scholars of cinema and media studies have allowed themselves to be constrained by too narrow a sense of what cinema is. This collection reanimates and expands film studies by taking the concept of animation seriously. Contributors. Karen Beckman, Suzanne Buchan, Scott Bukatman, Alan Cholodenko, Yuriko Furuhata, Alexander R. Galloway, Oliver Gaycken, Bishnupriya Ghosh, Tom Gunning, Andrew R. Johnston, Hervé Joubert-Laurencin, Gertrud Koch, Thomas LaMarre, Christopher P. Lehman, Esther Leslie, John MacKay, Mihaela Mihailova, Marc Steinberg, Tess Takahash

Animating Social Pathology: Ontology, Aesthetics, and Cartoon Alienation

This thesis grounds an unstable ontology in animation’s industrial history and its plasmatic aesthetics, in-so-doing I find animation to be a site of rendering visible a particular confrontation with an inability to properly rationalize, ossify, or otherwise delimit traditionally held boundaries of motility. Because of this inability, animation is privileged as a form to rethink our interactions with media technology, leading to utopian thought and bizarre, pathological behavior. I follow the ontological trend through animation studies, using Pixar’s WALL-E as a guide. I explore animation as an afterimage of social pathology, which stands in contrast to the more ludic thought of a figure such as Sergei Eisenstein, using Black Mirror’s “The Waldo Moment.” I look to two Cartoon Network shows as examples of potential alternatives to both the utopian and pathological of the preceding chapters