Video Ergo Cogito: Visual Education and Analogical Thinking

For more than a decade, educators and media critics have been arguing that we are on the threshold of a new age of visual thinking (e.g., Pittman, 1990). Their reasoning: young people\u27s minds are now being molded from the earliest years by intense exposure to television and other visual media; consequently, the young people of today are part of a new \u27visual generation.\u27 This is a widely accepted claim, and there are some data that seem to support it. For example, recent findings indicate that, over the past decade, young adults in the 18-24 age group have exhibited a pronounced increase in visual-arts involvement (Zill & Robinson, 1995). However, there is very little systematic theoretical work on the following basic question: if young people are indeed acquiring visually-oriented habits of thought from their encounters with visual media, what exactly do these habits of thought look like? To put this differently: if there is a visual intelligence, what mental skills does it consist of? This study is an attempt to give a partial answer to this question. Specifically, the study takes a close look at one particular type of mental skill that seems to play a major role in people\u27s uses of visual media—namely, analogical thinking. Consider, for example, a recent music video called Take a Bow, which portrays a sexual encounter between Madonna and a matador. This video contains a lengthy sequence in which the editing takes us back and forth between two scenes: on the one hand, Madonna and the matador having sex; on the other hand, the matador fighting a bull. This form of parallel editing is clearly intended as an analogy: the viewer is meant to see various strands of similarity between the passionate doings in one scene and the violent ritual in the other

Presentation of Hamlet and Gertrude in Franco Zeffirelli’s Hamlet

Zadanie pt. „Digitalizacja i udostępnienie w Cyfrowym Repozytorium Uniwersytetu Łódzkiego kolekcji czasopism naukowych wydawanych przez Uniwersytet Łódzki” nr 885/P-DUN/2014 dofinansowane zostało ze środków MNiSW w ramach działalności upowszechniającej nauk

Kickin\u27 Sand and Tellin\u27 Lies

This document is the script of the two-act play, Kickin’ Sand and Tellin’ Lies, by Jackson B. Miller and Christopher Forrer. The Linfield College Theatre Program presented the world premieres of the play in November 2012 in McMinnville, Oregon and in Pacific City, Oregon. The play was created as part of the Launching through the Surf: The Dory Fleet of Pacific City project, which focuses on the historical and contemporary role of dory fishers and dories in the life of the coastal village of Pacific City, Oregon. Inspired by stories from the project, Kickin’ Sand and Tellin’ Lies is a fictional work. Inquiries concerning the professional or amateur rights to produce Kickin’ Sand and Tellin’ Lies, or any part thereof, should be addressed to Jackson B. Miller ([email protected]) or the Department of Theatre and Communication Arts, Linfield College, 900 SE Baker St., McMinnville, OR 97128 (503-883-2802).https://digitalcommons.linfield.edu/dory_kstl_play/1002/thumbnail.jp

Exploring the soliloquies of Romeo and Juliet: teacher notes (Active Shakespeare: Capturing evidence of learning)

Part of the 'Active Shakespeare: Capturing evidence of learning' suite of resources. "What is it about Providing active and engaging ways to integrate Shakespeare in the ongoing periodic assessment of pupils’ reading. What is it for? To support the teaching and assessment of Shakespeare at Key Stage 3." - Back cover

Story Development in Cinematography

First off, I’ve got to argue for the use of the word “cinematography” over “camera”. One is to utilize a word I would like to further unpack. Another is to utilize a word that simply implies a relationship to another art form entirely – photography. I often say to my students that some cinematographers initially come from the lighting point of view and some come from the camera, but ultimately what great cinematographers do is understand a story (not just a moment that tells a story – there is a significant difference) – and tell it. If I say that storytelling is the most and primary function of a cinematographer, then how do we teach storytelling to our students in a classroom? Obviously it is possible to teach them tools of “photography” – lenses/optics, composition, chemistry, sensitometry etc. and lighting – this is an HMI, this is flicker, memorize WAV, etc. However, how do we teach them how to tell a story with these tools? I have been working the last few years on teaching my students story development tools that are appropriate for cinematographers. Tools which as they go forward into their own practice have begun to give real results in terms of not only storytelling, but in the students creating their own relevant visual styles. For them to utilize these tools they need to engage not only in pre-production time, but in story development time – which is a period rarely engaged in at the student level, but is crucial if we want them to become anything other than the takers of pretty pictures

Interactive 3D Simulation of Escher-like Impossible Worlds

figures and impossible worlds. Many of his works illustrate mathematical and geometrical concepts such as perspective and limits. Works by Escher have motivated scientists over the years to discover the mathematical foundations of his work, ultimately leading to applications that are able to model and render scenes similar to the ones created by Escher. Presented is an application that is capable of displaying a special class of impossible worlds that have been created by the artist. The software displays worlds that appear physically correct, but are connected in an impossible manner, similar to Escher’s Another World II or Relativity. Portal rendering is employed to create real-time interactive visualizations of such scenes, which can be freely explored by the user

Zeitkippen : Begleitpublikation zum Film C 13075

If we see a film, we experience the passing time in two ways. On the one hand, it is conveyed as the time in which the film action takes place – felt as “lived” time. On the other hand, via camera travels and movements of objects vertically to the picture plane, time is perceived – in a much more indirect way – as a vehicle for representation of spatial depth. It is this link between space and time where the method of “time tilting” introduced here sets in. When a film scene is “time-tilted”, one of the spatial dimensions (here the horizontal direction of the picture plane) is interchanged with the time dimension: In a first step, the pictures of the scene are digitalized. Then, the thus gained pixels of all pictures of the scene are arranged into a three-dimensional data field. Finally, a new series of pictures is read out, along one of the two former picture axes, which is then shown as a scene of moving pictures. The resulting film will present optical phenomena which are, on the one hand, aesthetically appealing and, on the other hand, informative for film analysis. First examples demonstrate how the procedure operates on basic movements in space as well as on camera travels in space.Bei der Vorführung eines Films wirkt die ablaufende Zeit auf den Zuschauer in zweierlei Weise. Zum einen als die Zeit, in der die Filmhandlung stattfindet und die als gelebte Zeit empfunden wird. Zum anderen, sehr viel indirekter, als Vehikel zur Darstellung von Raumtiefe durch Kamerafahrten und Objektbewegungen senkrecht zur Bildebene. An dieser Verknüpfung von Raum und Zeit setzt die hier vorgestellte Methode „Zeitkippen“ an. Beim Zeitkippen einer Filmszene wird eine der Raumdimensionen (hier die Horizontale der Bildebene) mit der Zeitachse vertauscht: Im ersten Schritt digitalisiert man die Szene. Dann fügt man die Bildpunkte (Pixel) aller Szenen bilder in ein dreidimensionales Datenfeld. Schließlich liest man entlang einer der beiden ehemaligen Bildfeldachsen eine neue Bildserie aus, die man als Bewegtbild-Szene vorführt. Dabei entstehen einerseits ästhetisch ansprechende und andererseits filmanalytisch auf schlussreiche optische Phänomene. Erste Beispiele zeigen, wie sich das Verfahren auf grundlegende Bewegungen im Raum sowie Kamerafahrten im Raum auswirkt

Wittgenstein on Life, Art, and the "Right Perspective"

Dedicato a una lunga osservazione contenuta nelle "Vermischte Bemerkungen", il saggio mostra come Wittgenstein attribuisca all'arte un potere di trasformazione dell'ordinario e propone un confronto tra la concezione desumibile dall'osservazione wittgensteiniana e l'interpretazione hegeliana della pittura olandese