Video Structure Meaning

For over a century, motion pictures have entertained us, occasionally educated us, and even served a few specialized fields of study. Now, however, with the precipitous drop in prices and increase in image quality, motion pictures are as widespread as paperback books and postcards once were. Yet, theories and practices of analysis for particular genres and analytical stances, definitions, concepts, and tools that span platforms have been wanting. Therefore, we developed a suite of tools to enable close structural analysis of the time-varying signal set of a movie. We take an information-theoretic approach (message is a signal set) generated (coded) under various antecedents (sent over some channel) decoded under some other set of antecedents. Cultural, technical, and personal antecedents might favor certain message-making systems over others. The same holds true at the recipient end—yet, the signal set remains the signal set. In order to discover how movies work—their structure and meaning—we honed ways to provide pixel level analysis, forms of clustering, and precise descriptions of what parts of a signal influence viewer behavior. We assert that analysis of the signal set across the evolution of film—from Edison to Hollywood to Brakhage to cats on social media—yields a common ontology with instantiations (responses to changes in coding and decoding antecedents).

For over a century, motion pictures have entertained us, occasionally educated us, and even served a few specialized fields of study. Now, however, with the precipitous drop in prices and increase in image quality, motion pictures are as widespread as paperback books and postcards once were. Yet, theories and practices of analysis for particular genres and analytical stances, definitions, concepts, and tools that span platforms have been wanting. Therefore, we developed a suite of tools to enable close structural analysis of the time-varying signal set of a movie. We take an information-theoretic approach (message is a signal set) generated (coded) under various antecedents (sent over some channel) decoded under some other set of antecedents. Cultural, technical, and personal antecedents might favor certain message-making systems over others. The same holds true at the recipient end-yet, the signal set remains the signal set. In order to discover how movies work-their structure and meaning-we honed ways to provide pixel level analysis, forms of clustering, and precise descriptions of what parts of a signal influence viewer behavior. We assert that analysis of the signal set across the evolution of film—from Edison to Hollywood to Brakhage to cats on social media—yields a common ontology with instantiations (responses to changes in coding and decoding antecedents).

Music videos have ranged from simple tableaux of a band playing its instruments to multimillion dollar, high-concept extravaganzas. Born of a sudden expansion in new broadcast channels, music videos continue to exert an enormous influence on popular music. They help to create an artist's identity, to affect a song's mood, to determine chart success: the music video has changed our idea of the popular song. Here at last is a study that treats music video as a distinct multimedia artistic genre, different from film, television, and indeed from the songs they illuminate—and sell. Carol Vernallis describes how verbal, musical, and visual codes combine in music video to create defining representations of race, class, gender, sexuality, and performance. The book explores the complex interactions of narrative, settings, props, costumes, lyrics, and much more. Three chapters contain close analyses of important videos: Madonna's "Cherish," Prince's "Gett Off," and Peter Gabriel's "Mercy St."

Technology has spurred the growth of huge image and video libraries, many growing into the hundreds of terabytes. As a result there is a great demand among organizations for the design of databases that can effectively support the storage, search, retrieval, and transmission of video data. Engineers and researchers in the field demand a comprehensi

This book tries to address different aspects and issues related to video and multimedia distribution over the heterogeneous environment considering broadband satellite networks and general wireless systems where wireless communications and conditions can pose serious problems to the efficient and reliable delivery of content. Specific chapters of the book relate to different research topics covering the architectural aspects of the most famous DVB standard (DVB-T, DVB-S/S2, DVB-H etc.), the protocol aspects and the transmission techniques making use of MIMO, hierarchical modulation and lossy compression. In addition, research issues related to the application layer and to the content semantic, organization and research on the web have also been addressed in order to give a complete view of the problems. The network technologies used in the book are mainly broadband wireless and satellite networks. The book can be read by intermediate students, researchers, engineers or people with some knowledge or specialization in network topics.

This book constitutes the refereed proceedings of the 11th International Conference on Interactive Digital Storytelling, ICIDS 2018, held in Dublin, Ireland, in December 2018. The 20 revised full papers and 16 short papers presented together with 17 posters, 11 demos, and 4 workshops were carefully reviewed and selected from 56, respectively 29, submissions. The papers are organized in the following topical sections: the future of the discipline; theory and analysis; practices and games; virtual reality; theater and performance; generative and assistive tools and techniques; development and analysis of authoring tools; and impact in culture and society.

This collection of papers comprises over ten papers published in recent years, with topics on new phenomena, new problems, new thinking, and new views in the fields of “barrier-free communication”, “new technologies and new media”, “Internet and society”, etc. They present and reflect on the new developments and new trends of current Chinese media research from different aspects, and to a certain extent outline and depict the landscape of the accelerating informatization of the Chinese society. They show the important influences of the media in the evolution of contemporary Chinese society.

Teaching is changing. It is no longer simply about passing on knowledge to the next generation. Teachers in the twenty-first century, in all educational sectors, have to cope with an ever-changing cultural and technological environment. Teaching is now a design science. Like other design professionals – architects, engineers, programmers – teachers have to work out creative and evidence-based ways of improving what they do. Yet teaching is not treated as a design profession. Every day, teachers design and test new ways of teaching, using learning technology to help their students. Sadly, their discoveries often remain local. By representing and communicating their best ideas as structured pedagogical patterns, teachers could develop this vital professional knowledge collectively. Teacher professional development has not embedded in the teacher’s everyday role the idea that they could discover something worth communicating to other teachers, or build on each others’ ideas. Could the culture change? From this unique perspective on the nature of teaching, Diana Laurillard argues that a twenty-first century education system needs teachers who work collaboratively to design effective and innovative teaching.