Este estudio avanza sobre un análisis acerca de la conformación del video arte como soporte artístico-tecnológico y como movimiento renovador en el campo del arte. Partiendo desde sus denominaciones de origen da cuenta del carácter experimentador y cuestionador como tendencia inherente y propia del video arte, sobre todo respecto de posiciones y tecnologías dominantes. Analiza las vertientes estéticas y conceptuales y sus filiaciones y diferencias con otras artes, soportes y formatos. El texto recorre tanto los aspectos históricos del video arte como sus particularidades y desafíos curatoriales en la actualidad, puntualizando además su situación, referentes y obras en la Argentina.
Video as Method provides researchers with a guide to understanding, designing, conducting, and disseminating video-based research and the rapid proliferation of approaches, uses, and designs now available. In the face of large data sets, and the great range of types and uses of video as an effective research tool, many researchers struggle to know how best to represent both video-based methodologies and research findings. Anne Harris provides in-depth examples in each chapter, and guides readers step-by-step through the chapter topics in a methodical fashion that mirrors the research journey.
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La animación social ha sido definida como una estrategia de democratización cultural que permite la participación de los sectores populares en su propio desarrollo. En Chile, la apertura a la importación masiva de equipos facilitó e incentivó la producción y difusión de video. En base a la reflexión y evaluación de prolongadas experiencias en zonas populares, Yessica Ulloa propone una metodología para la producción y uso del video. El texto que publicamos es un extracto del trabajo original que se presentó en el Seminario Latinoamericano de Estrategias y Metodologías de Capacitación en Video, realizado en Lima, en 1992. El texto completo puede obtenerse en el CENECA Comunicación y Cultura para el Desarrollo.José Diego Benavente 327 -Ñunoa. Santiago de Chile.
Reviews the longstanding and controversial topic of the effects of video game violence on children. Examines existing research and draws on personal experience and an interview with Doug Lowenstein, President of the Entertainment Software Association, for a view from the video game industry. Reports limitations on the significance of the research: some is short‐term, on one type of game only, or not on the most realistic modern games. Concludes however that there is no reason to believe that playing aggressive games leads to an increase long term in aggressive behaviour: there is a lack of longitudinal study evidence, children are usually able to distinguish between fantasy and reality, and playing violent games may actually channel aggression. Indicates the usefulness of parental involvement in their children's games and of publications like the "Children's Software Review".
This paper discusses video ethnography as part of a multimethod study of the introduction of information technology to streamline pathology test order entry in hospitals and its effect on the work of pathology laboratory scientists. The paper opens with an overview of video research in health care settings. After acknowledging the limitations inherent in video data, the paper offers a description of how video footage served to enhance insight in three ways. First, the footage enhanced the researchers' own appreciation of the significance of particular facets of the data, which led them to reassess information collected through interviewing, focus groups and research field notes. Second, the footage enhanced the pathology laboratory scientists' appreciation of the problems they experienced when incorporating the new information technology into their daily work practice, by enabling them to articulate these problems to outside researchers. Third, by being watched (by the video camera) and by watching themselves perform their work they were enabled to redesign their practices. The paper suggests that, as a result of interactively performing their work in front of the camera, the scientists came to apprehend their practices 'from under a different aspect'. The paper concludes that by allowing video ethnography as a research method to remain underdefined and emergent, the modality of engagement and uptake shown by participants in the video research can be considered as a further enriching aspect of video ethnography as a research process.
This thesis explores contemporary modes of video activism for a radical politics of the Left. It offers an analytical contribution to media and communication that promotes an understanding of radical online video as modes of political engagement in contemporary online environments. By focusing on YouTube as one of the most prevalent spaces in which radical video is screened and experienced today, the platform is considered emblematic of an ongoing reorganisation of political space and mediated modes of political engagement in contemporary liberal democracies. As an empirical entry point, YouTube provides a window onto examining the radical video practices emerging in relation to three recent political mobilisations in Europe: 1. The European Social Forum in Malmoe in 2008 2. The alternative COP15 climate summit in Copenhagen in 2009 3. The G20 counter-summit in London in 2009 As three distinct, yet related protest events, these cases provide significant examples of the broad social movement mobilisations that over the past decade have sought to render the consequences of neoliberal politics and governance a visible social problem, and put Left alternatives on the political and public agenda. Through six articles based on the three case studies, this compilation thesis examines the dualities and tensions that characterise video activism on this political vector today. It describes and highlights the texts and contexts of video activism, in a time when the longstanding tradition of working with the power of the image in political portrayal and argument is increasingly reallocated to the mechanisms of social networking and corporate control in contemporary online environments. Part I of this thesis sets the scene by establishing the terrain of the research. As an initial analytical effort, this chapter proposes a typology for understanding radical online video as 'political mash-up genres', emerging in the context of an increasingly complex set of media practices and circuits across intertwined and hybrid communication networks. This chapter further extends the terms of analysis by offering an account of the history of video activism and suggests how an analysis of historical modes of video activism may help contextualise and understand social movement media practices today. The six empirical articles account for Part II of the thesis. Each on its own terms, the articles offer empirical contributions that promote an understanding of the various ways 'the political' is on display and radical politics are being forged on YouTube. In a dual vein of analytical enquiry, the articles examine radical online video as a range of media forms for political argument and portrayal and interrogate the possibilities and constraints offered by the 'architecture of participation' on YouTube to the specific groups and struggles represented in the three case studies. In doing so, the articles identify and analyse a set of tensions and dualities that characterise the ways in which individual and collective actors engage in radical video practice, through media forms that straddle the discursive registers of fact and fiction, art and document, information and entertainment, politics and popular culture. Together, the articles give shape to a range of social movement media practices across a historical, technological, political and aesthetic-discursive range. In the concluding considerations of Part III, I return to the issue of historical contexts to illustrate how close comparative attention to historical modes of video activism can help us understand the complexities and contingencies of online video recruited for radical politics today. The analysis exhibits how contemporary modes of video activism are characterised by practices in which the old and the new, the past and the present, clearly overlap. While we may recognise the incentives and dynamics behind contemporary video activism as well known to the trajectory of Left thinking and action, these insights are suggestive of how such media practices are re-organised and refocused in keeping with the emergence of new means of, and arenas for, political engagement.
Personal use of this material is permitted. Permission from IEEE must be obtained for all other uses, in any current or future media, including reprinting/republishing this material for advertising or promotional purposes, creating new collective works, for resale or redistribution to servers or lists, or reuse of any copyrighted component of this work in other works. J. C. San Miguel, J. Bescós, J. M. Martónez, and Á. García, "DiVA: A Distributed Video Analysis Framework Applied to Video-Surveillance Systems", in WIAMIS '08. Ninth International Workshop on Image Analysis for Multimedia Interactive Services, 2008, Klagenfurt (Germay), 2008, pp. 207 - 210. ; This paper describes a generic, scalable, and distributed framework for real-time video-analysis intended for research, prototyping and services deployment purposes. The architecture considers multiple cameras and is based on a server/client model. The information generated by each analysis module and the context information are made accessible to the whole system by using a database system. System modules can be interconnected in several ways, thus achieving flexibility. Two main design criteria have been low computational cost and easy component integration. The experimental results show the potential use of this system. ; This work is supported by Cátedra Infoglobal-UAM for "Nuevas Tecnologías de video aplicadas a la seguridad", by the Spanish Government (TEC2007-65400 SemanticVideo), by the Comunidad de Madrid (S-050/TIC-0223 - ProMultiDis-CM), by the Consejería de Educación of the Comunidad de Madrid and by The European Social Fund.
texto ; computadora ; recurso en línea ; La transparencia es el valor de cada época: transparencia democrática en lo político, transparencia visual en lo digital. Transparencia del cuerpo en la seducción. Este ensayo-creación afirma que, desde y en lo audiovisual, la transparencia visual es un exceso de brillo para encubrir, ocultar, perder la polisemia de las imágenes. Y propone el ambigüear lo visible, el ensuciar la mirada, el atravesar las apariencias y el bastardear las identidades como táctica para adquirir una narración, estética, verdad y representación de lo audiovisual. Así, se presenta la figura de la niebla como el modo inter-medio para intervenir la moral y el brillo de la imagen digital que tiene su cielo en la televisión y el video-clip. Este ensayo-creación busca re-pensar la representación y la narración audiovisual a través de la figura de la niebla. Al final se propone el video-cliff (o narración vértigo sobre la niebla) como alternativa impura que estalla la transparencia del video-clip ; Transparency is the value of every age: democratic transparency in the political, visual transparency in the digital. Transparency of the body in seduction. This essay-creation affirms that, from and in the audiovisual, the visual transparency is an excess of brightness to cover up, to hide, and to lose the polysemy of the images. The text proposes to ambiguate the visible, to tarnish the gaze, to overpass appearances and to bastardize identities as a tactic to acquired a narration, an aesthetics, a truth and a representation of the audiovisual form. Thus, the figure of the fog is presented as the inter-medium mode to intervene the morality and brightness of the digital image that has its sky on television and video clip. This essay-creation seeks to re-think representation and audiovisual narration through the figure of the fog. In the end, the video-cliff (or a vertigo narration about the fog) is proposed as an impure alternative that explodes the transparency of the video-clip ; A transparência é o valor de época: transparência democrática no político, transparência visual no digital, transparência do corpo na sedução. O presente ensaio-criação afirma que, a partir do e no audiovisual, a transparência visual é um excesso de brilho para encobrir, ocultar, perder a polissemia das imagens. E propo¿e ambigüear o visível, sujar o olhar, atravessar as aparências e bastardear as identidades como tática para ganhar narração, estética, verdade, e representação audiovisual. Assim, apresenta-se a figura do nevoeiro como o modo inter-meio para intervir na moral e no brilho da imagem digital que tem o seu céu na televisão e no video-clip. Este ensaio-criação procura re-pensar a representação e a narração audiovisual por meio da figura do nevoeiro. Finalmente, propo¿e-se o video-cliff (ou narração vertigem sobre o nevoeiro) como alternativa impura que faz explodir a transparência do video-clip
პოსტკომუნისტურ საზოგადოებაში მიმდინარე პოლიტიკურმა, სოციალურ-ეკონომიკურმა და კულტურულ-რელიგიურმაპროცესებმა გარკვეულწილად გამოიწვია საზოგადოების რელიგიური და ეთნიკური კონსტრუქციების ცვლილებები, ეთნიკური სტერეოტიპების გადააზრება. ეთნოსების ტრადიციული კულტურის ელემენტებზე გლობალიზაციის გავლენის შედეგად მნიშვნელოვან ცვლილებებს განიცდის ეთნოკულტურა, ქცევის ტრადიციული ნორმები, ეტიკეტი, კულტურული ღირებულებები.
