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

Visual Communications on the Road in Arkansas: Analysis of Secondary Students Videos

In the summer of 2010, the Visual Communications on the Road in Arkansas: Creative Photo and Video Projects to Promote Agriculture program was initiated. The program consisted of a two-week agricultural communications curriculum that would be taught by agricultural science teachers in Arkansas. The curriculum was composed of lessons about photography, writing, and videography, and the program introduced students to digital photography and videography equipment and the proper uses of equipment. Once the curriculum was taught in secondary schools, a mobile classroom unit—consisting of a travel trailer, photography and videography equipment, and laptop computers equipped with editing software—would visit the school to assist students with the creation of short promotional videos about agriculture. The student-created videos were used as a hands-on extension of the curriculum learned in the classroom. Completed videos were posted to YouTube and then analyzed to assess student application of competencies taught in the curriculum. The researchers created a coding sheet to systematically assess all posted videos and inter- and intrarater reliability was maintained. An analysis of data gathered from the video assessment showed that secondary students were able to effectively apply many of the techniques taught in the curriculum through the agricultural videos created. Additional findings and recommendations for application and future research are presented

Atmahaú Pakmát

A journey into the heart the US-Mexico borderlands reveals a world of ancient rivers, mud, and brick.Radio-Television-Fil

Digital afx: digital dressing and affective shifts in Sin City and 300

In Sin City (Robert Rodriguez, 2005) and 300 (Zack Snyder, 2006) extensive post-production work has created stylised colour palettes, manipulated areas of the image, and added or subtracted elements. Framing a discussion around the terms ‘affect’ and ‘emotion’, this paper argues that the digital technologies used in Sin City and 300 modify conventional interactions between representational and aesthetic dimensions. Brian Massumi suggests affective imagery can operate through two modes of engagement. One mode is embedded in a meaning system, linked to a speci?c emotion. The second is understood as an intensi?cation whereby a viewer reacts but that reaction is not yet gathered into an alignment with meaning. The term ‘digital afx’ is used to describe manipulations that produce imagery allowing these two modes of engagement to coexist. Digital afx are present when two competing aesthetic strategies remain equally visible within sequences of images. As a consequence the afx mingle with and shift the content of representation

Signs of Morality in David Bowie's "Black Star" Video Clip

“Black Star” music video was released two days before Bowie’s death. It bears various implications of dying and the notion of mortality is both literal and metaphorical. It is highly autobiographical and serves as a theatrical stage for Bowie to act both as a music performer and as a self-conscious human being. In this paper, we discuss the signs of mortality in Bowie’s “Black Star” music video-clip. We focus on video’s cinematic techniques and codes, on its motivic elements and on its narrative in relation with music, lyrics, characters, and gestures. We also discuss the video’s intertextual references and the broader signification of the black star figure. We adopt a quasi-semiotic approach considering “Black Star” music video-clip as a text which can be investigated through its signs, codes, and conventions of the musical, visual, and cinematic languages as well. Our interdisciplinary tools derive from visual semiotics and audiovisual analysis models, without leaving outside Bowie’s musical-artistic and personal history. As it turns out, Bowie created a video clip that is philosophical in nature and poetic in structure, preserving the role of protagonist. With the visuals creating a psychedelic atmosphere, the lyrics often are heard as a personal confession. They both generate cognitive and emotional responses that influence the way the viewers-listeners may experience, decompose, and interpret Bowie’s artistic endeavor bridging life and death

Investigating situated cultural practices through cross-sectoral digital collaborations: policies, processes, insights

The (Belfast) Good Friday Agreement represents a major milestone in Northern Ireland's recent political history, with complex conditions allowing for formation of a ‘cross-community’ system of government enabling power sharing between parties representing Protestant/loyalist and Catholic/nationalist constituencies. This article examines the apparent flourishing of community-focused digital practices over the subsequent ‘post-conflict’ decade, galvanised by Northern Irish and EU policy initiatives armed with consolidating the peace process. Numerous digital heritage and storytelling projects have been catalysed within programmes aiming to foster social processes, community cohesion and cross-community exchange. The article outlines two projects—‘digital memory boxes’ and ‘interactive galleon’—developed during 2007–2008 within practice-led PhD enquiry conducted in collaboration with the Nerve Centre, a third-sector media education organisation. The article goes on to critically examine the processes involved in practically realising, and creatively and theoretically reconciling, community-engaged digital production in a particular socio-political context of academic-community collaboration