The art of video MashUp: supporting creative users with an innovative and smart application

In this paper, we describe the development of a new and innovative tool of video mashup. This application is an easy to use tool of video editing integrated in a cross-media platform; it works taking the information from a repository of videos and puts into action a process of semi-automatic editing supporting users in the production of video mashup. Doing so it gives vent to their creative side without them being forced to learn how to use a complicated and unlikely new technology. The users will be further helped in building their own editing by the intelligent system working behind the tool: it combines semantic annotation (tags and comments by users), low level features (gradient of color, texture and movements) and high level features (general data distinguishing a movie: actors, director, year of production, etc.) to furnish a pre-elaborated editing users can modify in a very simple way

A ‘space to imagine’ : Frenchness and the pleasures and labours of art cinema in the English regions

This article explores focus group responses to Mia Hansen-Løve’s Things to Come (2016). The focus groups were conducted across four English regions in Autumn 2018, and drew participants from a range of social, cultural and economic backgrounds. The responses reveal some of the ways in which audiences in the English regions form and make meaning around particular kinds of textual and contextual experiences of cinemagoing and consumption. In particular, the article aims to develop our understanding of contemporary art cinema to take account of the ways in which audiences identify and respond to a film clip which captures the particular textual characteristics associated with the mode. Our research finds that for many, the pleasures of art cinema are contingent on participation within related, elite social and cultural practices, whereas for others, art cinema conventions operate as sites of labour and exclusion. The responses also reveal some of the ways in which narratives of nationhood are constructed in relation to art cinema The methodological approach of the research, drawing on film elicitation,  indicates ways in which traditional models of textual analysis might be enriched by more pluralised accounts of the relationships between form and meaning

Optical and electrical characteristics of (LiCl)x(P2O5)1-x glass.

Homogeneous (LiCl) x (P2O5)1 − x glasses were synthesised using a melt-quenching method for x = 0.1–0.6 in the interval of 0.05. The amorphous structure of the samples was evident by the X-ray diffraction spectrum. The short range structures of the binary phosphate samples were examined by Fourier transform infrared spectroscopy, whilst the density of the samples was measured as supportive data for the investigations. The results of refractive indices as measured using an ellipsometer reveal the homogeneity of samples and was found to depend on the glass composition. The electrical properties of the glasses were investigated by ac impedance spectroscopy from 10 mHz to 1 MHz for temperatures ranging from room temperature to 573 K. An estimation of the bulk resistivity was obtained by taking the intercepts on the real axis at low frequencies of the complex impedance plot. The dc conductivities derived from the reciprocal of resistivity values were found to obey the Arrhenius relationship, and its activation energy shows a decreasing trend with the increase in LiCl content in the glass. Lastly, an equivalent circuits consisting of real and complex capacitors is proposed to describe the dielectric response of the glass

Denotative and Connotative Semantics in Hypermedia: Proposal for a Semiotic-Aware Architecture

In this article we claim that the linguistic-centered view within hypermedia systems needs refinement through a semiotic-based approach before real interoperation between media can be achieved. We discuss the problems of visual signification for images and video in dynamic systems, in which users can access visual material in a non-linear fashion. We describe how semiotics can help overcome such problems, by allowing descriptions of the material on both denotative and connotative levels. Finally we propose an architecture for a dynamic semiotic-aware hypermedia system

Match-action: the role of motion and audio in creating global change blindness in film

An everyday example of change blindness is our difficulty to detect cuts in an edited moving-image. Edit Blindness (Smith & Henderson, 2008) is created by adhering to the continuity editing conventions of Hollywood, e.g. coinciding a cut with a sudden onset of motion (Match-Action). In this study we isolated the roles motion and audio play in limiting awareness of match-action cuts by removing motion before and/or after cuts in existing Hollywood film clips and presenting the clips with or without the original soundtrack whilst participants tried to detect cuts. Removing post-cut motion significantly decreased cut detection time and the probability of missing the cut. By comparison, removing pre-cut motion had no effect suggesting, contrary to the editing literature, that the onset of motion before a cut may not be as critical for creating edit blindness as the motion after a cut. Analysis of eye movements indicated that viewers reoriented less to new content across intact match-action cuts than shots with motion removed. Audio played a surprisingly large part in creating edit blindness with edit blindness mostly disappearing without audio. These results extend film editor intuitions and are discussed in the context of the Attentional Theory of Cinematic Continuity (Smith, 2012a)

Rhetorical Transformations in Multimodal Advertising Texts: From General to Local Degree Zero

The use of rhetoric in advertising research has been steadily gaining momentum since the 1980’s. Coupled with an increased interest in multimodality and the multiple interactions among verbal, pictorial and auditory registers, as structural components of an ad filmic text, the hermeneutic tools furnished by traditional rhetoric have been expanded and elaborated. This paper addresses the fundamental question of how ad filmic texts assume signification from a multimodal rhetorical point of view, by engaging in a fruitful dialogue with various research streams within the wider semiotic discipline and consumer research. By critically addressing the context of analysis of a multimodal ad text in the course of the argumentation deployed by different approaches, such as Social Semiotics (Kress/Leeuwen 2001), Film Semiotics (i.e. Metz 1982, Carroll 1980, Branigan 1982), Visual Semiotics (i.e. Sonesson 2008; 2010, Eco 1972;1976;1986, Groupe " 1992), Consumer Research (i.e. Mick/McQuarrie 1999; 2004, Philips 2003, Scott 1994), the relative merits of a structuralist approach that prioritizes the distinction between local and general degree zero, as put forward by Groupe " (1992), are highlighted. Furthermore, the modes whereby rhetorical transformations are enacted are outlined, with view to deepening the conceptual tackling of degree zero of signification, while addressing its applicability to branding discourse and multimodal ad texts

Peptide Conformer Acidity Analysis of Protein Flexibility Monitored by Hydrogen Exchange†

ABSTRACT: The amide hydrogens that are exposed to solvent in the high-resolution X-ray structures of ubiquitin, FK506-binding protein, chymotrypsin inhibitor 2, and rubredoxin span a billion-fold range in hydroxide-catalyzed exchange rates which are predictable by continuum dielectric methods. To facilitate analysis of transiently accessible amides, the hydroxide-catalyzed rate constants for every backbone amide of ubiquitin were determined under near physiological conditions. With the previously reported NMR-restrained molecular dynamics ensembles of ubiquitin (PDB codes 2NR2 and 2K39) used as representations of the Boltzmann-weighted conformational distribution, nearly all of the exchange rates for the highly exposed amides were more accurately predicted than by use of the high-resolution X-ray structure. More strikingly, predictions for the amide hydrogens of the NMR relaxation-restrained ensemble that become exposed to solvent in more than one but less than half of the 144 protein conformations in this ensemble were almost as accurate. In marked contrast, the exchange rates for many of the analogous amides in the residual dipolar coupling-restrained ubiquitin ensemble are substantially overestimated, as was particularly evident for the Ile 44 to Lys 48 segment which constitutes the primary interaction site for the proteasome targeting enzymes involved in polyubiquitylation. For both ensembles, “excited state ” conformers in this active site region having markedly elevated peptide acidities are represented at a population level that is 102 to 103 abov

What is the role of the film viewer? The effects of narrative comprehension and viewing task on gaze control in film

Film is ubiquitous, but the processes that guide viewers' attention while viewing film narratives are poorly understood. In fact, many film theorists and practitioners disagree on whether the film stimulus (bottom-up) or the viewer (top-down) is more important in determining how we watch movies. Reading research has shown a strong connection between eye movements and comprehension, and scene perception studies have shown strong effects of viewing tasks on eye movements, but such idiosyncratic top-down control of gaze in film would be anathema to the universal control mainstream filmmakers typically aim for. Thus, in two experiments we tested whether the eye movements and comprehension relationship similarly held in a classic film example, the famous opening scene of Orson Welles' Touch of Evil (Welles & Zugsmith, Touch of Evil, 1958). Comprehension differences were compared with more volitionally controlled task-based effects on eye movements. To investigate the effects of comprehension on eye movements during film viewing, we manipulated viewers' comprehension by starting participants at different points in a film, and then tracked their eyes. Overall, the manipulation created large differences in comprehension, but only produced modest differences in eye movements. To amplify top-down effects on eye movements, a task manipulation was designed to prioritize peripheral scene features: a map task. This task manipulation created large differences in eye movements when compared to participants freely viewing the clip for comprehension. Thus, to allow for strong, volitional top-down control of eye movements in film, task manipulations need to make features that are important to narrative comprehension irrelevant to the viewing task. The evidence provided by this experimental case study suggests that filmmakers' belief in their ability to create systematic gaze behavior across viewers is confirmed, but that this does not indicate universally similar comprehension of the film narrative