MENINGKATKAN AKTIVITAS DAN HASIL BELAJAR SISWA SEKOLAH DASAR PADA MATERI KOLASE DENGAN MEDIA VIDEO

INCREASING ACTIVITY AND LEARNING OUTCOMES OF ELEMENTARY SCHOOL STUDENTS ON LESSONS OF COLLAGE WITH VIDEO MEDIAThis study aims to determine the increase in activity and student learning outcomes, describe the process of increasing student activity and learning outcomes, and measure the magnitude of the increase in activity and learning outcomes in the Collage material using video learning media for Cultural Arts and Crafts in grade IV SD Negeri Lawang Gintung 2, Bogor City. 2019/2020 school year. This research is a Classroom Action Research by providing action on research subjects in two learning cycles. The results of this study indicate that using video media on collage material for learning cultural arts and crafts can be a fun variation of learning for students so that it is proven to improve student learning outcomes. Before using video media on the learning collage material for Cultural Arts and Crafts, the learning outcomes of students only reached an average value of 68.44 then an increase occurred after using video media to 80.54 in cycle 1 and 98.14 in cycle 2. So it can be concluded that the use of video media in the learning collage material for Cultural Arts and Crafts is very popular with students and there is an increase in student learning outcomes. Therefore, the researcher suggests that the use of video media in the learning collage material for Cultural Arts and Crafts be socialized and used as an alternative in learning Cultural Arts and Crafts in schools

Rhythmic Collage

I researched the applications of video to still-frame art. This project attempts to bridge the gap between photography, animation, collage, and video art. The final piece became a mode of video art that I call rhythmic collage. The idea of collage carries the implication of found or appropriated images. I took found images from stock photos labeled for reuse and screenshots from Google street view. The sound was appropriated from other online sources and edited. The different buildings were digitally cut out and layered on top of the landscape background. The chosen pacing was inspired by the game ‘Tetris’. The pacing of the collage layers was important to the narrative of the piece, so the most challenging part of the project was editing the appropriate rhythm. Through a lot of experimentation, I was able select a layered pacing that begins slowly and exponentially increases as the screen begins to fill. The final result of my research was a rhythmic collage showing the transformation of a greenspace into a cityscape. The technique of rhythmic montage paired with motion collage works to create an aesthetic piece with story and meaning behind the motion. One thing that did not work, and that I have yet to find a solution to, is seamlessly matching the transition motion of the collage pieces over distances within the frame to match the pacing of the video. This failure is noticeable towards the end when a piece slides into the upper center of the frame after the pace has quickened. The jarring speed of motion over the distance causes that motion to stand apart. This video will guide my future projects in video art. There is still a lot of art work that has yet to be created that intentionally blurs the lines of material/medium specificity, and rhythmic collage is a method that will guide my future research into dismantling the medium specificity of two dimensional work and video art

Videos and Messy Data Analysis

This video collage expresses how students interacted with data in various ways as a response to the instructor’s request to analyze data. Video ‘stunts’ illustrate how ‘ messy data analysis’ can lead to spontaneous connections and ‘accident zones’ during different interactions with data. Additionally, this video collage has less to do with step-by-step approaches and more with engaging, challenging, interesting, thought-provoking, and sometimes pleasurable or threatening analysis approaches

Sensor-assisted Video Mapping of the Seafloor

In recent years video surveys have become an increasingly important ground-truthing of acousticseafloor characterization and benthic habitat mapping studies. However, the ground-truthing and detailed characterization provided by video are still typically done using sparse sample imagery supplemented by physical samples. Combining single video frames in a seamless mosaic can provide a tool by which imagery has significant areal coverage, while at the same time showing small fauna and biological features at mm resolution. The generation of such a mosaic is a challenging task due to height variations of the imaged terrain and decimeter scale knowledge of camera position. This paper discusses the current role of underwater video survey, and the potential for generating consistent, quantitative image maps using video data, accompanied by data that can be measured by auxiliary sensors with sufficient accuracy, such as camera tilt and heading, and their use in automated mosaicking techniques. The camera attitude data also provide the necessary information to support the development of a video collage. The collage provides a quick look at the large spatial scale features in a scene and can be used to pinpoint regions that are likely to yield useful information when rendered into high-resolution mosaics. It is proposed that high quality mosaics can be produced using consumer-grade cameras and low-cost sensors, thereby allowing for the economical scientific video surveys. A case study is presented with the results from benthic habitat mapping and the ground-truthing ofseafloor acoustic data using both real underwater imagery and simulations. A computer modeling of the process of video data acquisition (in particular on a non-flat terrain) allows for a better understanding of the main sources of error in mosaic generation and for the choice of near-optimal processing strategies. Various spatial patterns of video survey coverage are compared and it is shown that some patterns have certain advantages in the sense of accumulated error and overall mosaic accuracy

The Adversity Pop Culture Has Posed

I am a collage artist working with multiple mediums such as paint, photography, video, audio, and performance. As a New Orleans’ native, I have a unique history that is unflattering, for my history echoes that of America’s historical misdeeds. I make sociopolitical art because I am of a historically oppressed people. I make art that celebrates my diverse culture that is a collage of Native American, African, and New Orleans’ French Creole

Life According To Them

V diplomové práci ŽIVOT PODLE NICH se zabývám blogy o líčení na serveru YouTube. Používám v ní své práce, především video záznamy performancí pro kameru, či diváky, které vznikaly v průběhu celého magisterského studia. Jejich další zpracování spolu s myšlenkami a zážitky vede k audiovizuální koláži, která doprovodí výslednou performativní přednášku. Zmíněná koláž může zároveň existovat jako samostatná videoesej vyjadřující moje zážitky s tématem blogerství.In the thesis LIFE ACCORDING TO THEM I deal with beauty blogs on YouTube. I use my own pieces of work, especially video recordings of performances for the camera or for the audience, which were created during the entire master’s degree study. Their further processing together with ideas and experiences leads to an audio-visual collage, that will accompany the final performative lecture. The aforementioned collage may also exist as a separate video-essay expressing my experiences with the topic of blogging.

The Adversity Pop Culture Has Posed

I am a collage artist working with multiple mediums such as paint, photography, video, audio, and performance. As a New Orleans’ native, I have a unique history that is unflattering, for my history echoes that of America’s historical misdeeds. I make sociopolitical art because I am of a historically oppressed people. I make art that celebrates my diverse culture that is a collage of Native American, African, and New Orleans’ French Creole

Tingkat Kelayakan Media Video Pembelajaran Pada Kompetensi Dasar Membuat Desain Busana Rumah Sesuai Konsep Kolase Di Smk Cendika Bangsa Malang

Video is a type of media that can visualize images with sound that connected with each other including 4 elements (text, pictures, sound and animation) that make students tend to pay attention and can increase their curiosity about learning materials. The aims of this study to describe the eligibility of video as a learning media for basic competence create home fashion designs according the collage concept. This research use type of Research and Development (RnD) with ADDIE model (Analysis, Design, Development, Implementation, Evaluation). The type of data used in this research is quantitative descriptive data. The research instrument is form of questionnaire given to the validator to determine the aligibity of video in terms of material and media aspects. Data collection techniques used are questionnaires. The result showed The eligibility level of learning video from material aspect got an average result of 3.6 included in the very eligibility criteria, and from media aspect got an average of 3.7 included in the very eligibility criteria. It can be concluded that learning video media is appropriate to be applied to fashion design learning for basic competence create home fashion designs according the collage concept

MINDtouch embodied ephemeral transference: Mobile media performance research

This is the post-print version of the final published article that is available from the link below. Copyright @ Intellect Ltd 2011.The aim of the author's media art research has been to uncover any new understandings of the sensations of liveness and presence that may emerge in participatory networked performance, using mobile phones and physiological wearable devices. To practically investigate these concepts, a mobile media performance series was created, called MINDtouch. The MINDtouch project proposed that the mobile videophone become a new way to communicate non-verbally, visually and sensually across space. It explored notions of ephemeral transference, distance collaboration and participant as performer to study presence and liveness emerging from the use of wireless mobile technologies within real-time, mobile performance contexts. Through participation by in-person and remote interactors, creating mobile video-streamed mixes, the project interweaves and embodies a daisy chain of technologies through the network space. As part of a practice-based Ph.D. research conducted at the SMARTlab Digital Media Institute at the University of East London, MINDtouch has been under the direction of Professor Lizbeth Goodman and sponsored by BBC R&D. The aim of this article is to discuss the project research, conducted and recently completed for submission, in terms of the technical and aesthetic developments from 2008 to present, as well as the final phase of staging the events from July 2009 to February 2010. This piece builds on the article (Baker 2008) which focused on the outcomes of phase 1 of the research project and initial developments in phase 2. The outcomes from phase 2 and 3 of the project are discussed in this article