6,680 research outputs found

    Teaching Television Production in the Age of YouTube

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    In this paper, we offer an examination of why traditional television producation pedagogy remains congent into the second decade of the 21st century. The shift to smaller distribution platforms and the democratization of television distribution through YouTube will cuase production teachers to shift emphases in their overall approach. Our thesis is that regardless of the delivery device, composition, the grammar of television and story structure still matter. Teachers of the art and craft of television production routinely deal with a paradox; specifically, prepping their students for the future while adhering to their own educational and professional training that is often deeply rooted in the past. For decades, educators updated knowledge and upgraded skill levels by attending conferences and symposia, doing their own production work, and/or periodically re-immersing themselves in professional environments. New production technologies, practices and workflows have continually evolved but with some effort, teachers have always been able to keep their knowledge and skill bases current. Keeping pace with hardware has een a different tale. While industry trade shows have always tantalized attendees with the newest and coolest of technologies, collegiate budget lines have historically been guided by many things other than the need to be on the cutting edge.This has not helped college keep pace with ever-escalating changes in technology and equipment. As a result, teaching at the collegiate level has historically meant working in under-resourced facilities, with equipment and technologies just slightly behind those used in the professional world. Despite constant technological changes, however, it could be argued that the basic television production pedagogy learned in the last decades of the 20th century has remained relatively unchanged, viable and applicable well into the first decade of the 21st. As we enter the digital age, television production proccesses and workflows have undergone a shift of tectonic proportions, and that raises questions about the methodology and information necessary to now teach it. Optimistically, television production can still be taught the same it has always been, with updated information regarding digital production and distribution technologies, as well as mobile and social-media distribution outlets. But in order to succeed in the digital world enveloping them, educators will likely have to make some changes in how they approach teaching. And that will include understanding how the cultural terrain has changed for television production students, as well

    Sequence Analysis of HindIII Q2 Fragment of Capripoxvirus Reveals a Putative Gene Encoding a G-Protein-Coupled Chemokine Receptor Homologue

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    AbstractThe DNA sequence of the HindIII Q2 fragment near the left terminus of the capripoxvirus (KS-1 strain) genome was determined. The sequence contains two complete open reading frames (ORFs) and a part of a third. Analysis of the deduced amino acid sequence of one of these ORFs, Q2/3L, revealed that this gene has the capacity to encode a protein which is related to members of the G-protein coupled chemokine receptor subfamily, the swinepoxvirus K2R and the human cytomegalovirus US28 ORFs. It has the key structural characteristics of the G-protein-coupled receptor superfamily, e.g., seven hydrophobic regions, predicted to span the cell membrane, and the cysteine residues in the first and second extracellular loops that are implicated in formation of a disulfide bond. Southern blot analysis showed that all three species of the Capripoxvirus genus, i.e., sheep pox, goat pox, and lumpy skin disease of cattle, contain copies of this putative G-proteincoupled chemokine receptor homologue

    Non-Singular String-Cosmologies From Exact Conformal Field Theories

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    Non-singular two and three dimensional string cosmologies are constructed using the exact conformal field theories corresponding to SO(2,1)/SO(1,1) and SO(2,2)/SO(2,1). {\it All} semi-classical curvature singularities are canceled in the exact theories for both of these cosets, but some new quantum curvature singularities emerge. However, considering different patches of the global manifolds, allows the construction of non-singular spacetimes with cosmological interpretation. In both two and three dimensions, we construct non-singular oscillating cosmologies, non-singular expanding and inflationary cosmologies including a de Sitter (exponential) stage with positive scalar curvature as well as non-singular contracting and deflationary cosmologies. Similarities between the two and three dimensional cases suggest a general picture for higher dimensional coset cosmologies: Anisotropy seems to be a generic unavoidable feature, cosmological singularities are generically avoided and it is possible to construct non-singular cosmologies where some spatial dimensions are experiencing inflation while the others experience deflation.Comment: Talk presented at the D.V. Volkov Memorial Conference "Supersymmetry and Quantum Field Theory" (25-29 July, 2000, Kharkov, Ukraine). Published in Nucl.Phys.B. (Proc. Suppl.) 102&103 (2001), p. 20

    Broadband optical gain via interference in the free electron laser: principles and proposed realizations

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    We propose experimentally simplified schemes of an optically dispersive interface region between two coupled free electron lasers (FELs), aimed at achieving a much broader gain bandwidth than in a conventional FEL or a conventional optical klystron composed of two separated FELs. The proposed schemes can {\it universally} enhance the gain of FELs, regardless of their design when operated in the short pulsed regime
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