The first edition of ELL (1993, Ron Asher, Editor) was hailed as "the field's standard reference work for a generation". Now the all-new second edition matches ELL's comprehensiveness and high quality, expanded for a new generation, while being the first encyclopedia to really exploit the multimedia potential of linguistics. * The most authoritative, up-to-date, comprehensive, and international reference source in its field * An entirely new work, with new editors, new authors, new topics and newly commissioned articles with a handful (...) of classic articles * The first Encyclopedia to exploit the multimedia potential of linguistics through the online edition * Ground-breaking and International in scope and approach * Alphabetically arranged with extensive cross-referencing * Available in print and online, priced separately. The online version will include updates as subjects develop ELL2 includes: * c. 7,500,000 words * c. 11,000 pages * c. 3,000 articles * c. 1,500 figures: 130 halftones and 150 colour * Supplementary audio, video and text files online * c. 3,500 glossary definitions * c. 39,000 references * Extensive list of commonly used abbreviations * List of languages of the world (including information on no. of speakers, language family, etc.) * Approximately 700 biographical entries (now includes contemporary linguists) * 200 language maps in print and online Also available online via ScienceDirect – featuring extensive browsing, searching, and internal cross-referencing between articles in the work, plus dynamic linking to journal articles and abstract databases, making navigation flexible and easy. For more information, pricing options and availability visit www.info.sciencedirect.com. The first Encyclopedia to exploit the multimedia potential of linguistics Ground-breaking in scope - wider than any predecessor An invaluable resource for researchers, academics, students and professionals in the fields of: linguistics, anthropology, education, psychology, language acquisition, language pathology, cognitive science, sociology, the law, the media, medicine & computer science. The most authoritative, up-to-date, comprehensive, and international reference source in its field. (shrink)

The first edition of ELL (1993, Ron Asher, Editor) was hailed as "the field's standard reference work for a generation". Now the all-new second edition matches ELL's comprehensiveness and high quality, expanded for a new generation, while being the first encyclopedia to really exploit the multimedia potential of linguistics. * The most authoritative, up-to-date, comprehensive, and international reference source in its field * An entirely new work, with new editors, new authors, new topics and newly commissioned articles with a handful (...) of classic articles * The first Encyclopedia to exploit the multimedia potential of linguistics through the online edition * Ground-breaking and International in scope and approach * Alphabetically arranged with extensive cross-referencing * Available in print and online, priced separately. The online version will include updates as subjects develop ELL2 includes: * c. 7,500,000 words * c. 11,000 pages * c. 3,000 articles * c. 1,500 figures: 130 halftones and 150 colour * Supplementary audio, video and text files online * c. 3,500 glossary definitions * c. 39,000 references * Extensive list of commonly used abbreviations * List of languages of the world (including information on no. of speakers, language family, etc.) * Approximately 700 biographical entries (now includes contemporary linguists) * 200 language maps in print and online Also available online via ScienceDirect – featuring extensive browsing, searching, and internal cross-referencing between articles in the work, plus dynamic linking to journal articles and abstract databases, making navigation flexible and easy. For more information, pricing options and availability visit www.info.sciencedirect.com. The first Encyclopedia to exploit the multimedia potential of linguistics Ground-breaking in scope - wider than any predecessor An invaluable resource for researchers, academics, students and professionals in the fields of: linguistics, anthropology, education, psychology, language acquisition, language pathology, cognitive science, sociology, the law, the media, medicine & computer science. The most authoritative, up-to-date, comprehensive, and international reference source in its field. (shrink)

The first edition of ELL (1993, Ron Asher, Editor) was hailed as "the field's standard reference work for a generation". Now the all-new second edition matches ELL's comprehensiveness and high quality, expanded for a new generation, while being the first encyclopedia to really exploit the multimedia potential of linguistics. * The most authoritative, up-to-date, comprehensive, and international reference source in its field * An entirely new work, with new editors, new authors, new topics and newly commissioned articles with a handful (...) of classic articles * The first Encyclopedia to exploit the multimedia potential of linguistics through the online edition * Ground-breaking and International in scope and approach * Alphabetically arranged with extensive cross-referencing * Available in print and online, priced separately. The online version will include updates as subjects develop ELL2 includes: * c. 7,500,000 words * c. 11,000 pages * c. 3,000 articles * c. 1,500 figures: 130 halftones and 150 colour * Supplementary audio, video and text files online * c. 3,500 glossary definitions * c. 39,000 references * Extensive list of commonly used abbreviations * List of languages of the world (including information on no. of speakers, language family, etc.) * Approximately 700 biographical entries (now includes contemporary linguists) * 200 language maps in print and online Also available online via ScienceDirect - featuring extensive browsing, searching, and internal cross-referencing between articles in the work, plus dynamic linking to journal articles and abstract databases, making navigation flexible and easy. For more information, pricing options and availability visit www.info.sciencedirect.com. The first Encyclopedia to exploit the multimedia potential of linguistics Ground-breaking in scope - wider than any predecessor An invaluable resource for researchers, academics, students and professionals in the fields of: linguistics, anthropology, education, psychology, language acquisition, language pathology, cognitive science, sociology, the law, the media, medicine & computer science. The most authoritative, up-to-date, comprehensive, and international reference source in its field. (shrink)

Between the last decades of the 18th century and the middle of the 19th century, something of paramount importance happened in the history of anthropology. This was the advent of a physical anthropology that was about the classification of ‘human races’ through comparative measurement. A central tool of the new trade was diagrams. Being inherently about relations in and between objects, diagrams became the means of defining human groups and their relations to each other – the last point being disputed (...) between the monogenists and the polygenists. James Cowles Prichard, a proponent of the comparative historical approach, was able to do without images in his pioneering Researches Into the Physical History of Man of 1813, but the third edition, which appeared in five volumes between 1836 and 1847, was richly illustrated with ‘ethnic types’ and skulls, including diagrams. What was happening is a process I engage with in detail for Samuel George Morton, who collected and distributed human skulls as lithographs in Crania americana (1839) and Crania aegyptiaca (1844). Along with the paper skulls travelled detailed instructions of how to look at them through a set of lines and to set their individual parts in relation to each other as well as to those of other types. Drawing on Johann Friedrich Blumenbach and Peter Camper, the Crania thus played a pivotal role in establishing what I call a diagrammatics of race – a diagrammatics that became overtly political with Types of Mankind (1854), which was written in Morton's honour by Josiah Nott and George Gliddon. (shrink)

This article appears in the Oxford Handbook of New Audiovisual Aesthetics edited by John Richardson, Claudia Gorbman, and Carol Vernallis. In rehearsing the history of video in Latin America, this chapter focuses on the social rather than the individual, on video as a collective medium where audio and visual are placed in a new relationship of equal simultaneity, and thus where video functions more as a form of collective speech than individual expression. In the Latin American (...) experience, which built on the radical film movement of the preceding decades, community activists became aficionados of video, often under the most inimical circumstances, but by exploiting video’s potential for alternative, small scale, low profile, subcultural uses. Using examples from Chile in the 1980s, indigenous video in countries like Brazil and Bolivia, and the movement of video activism in Argentina in the early 2000s known as cine piquetero, the chapter sketches a concept of video speech as a form of audiovisual utterance answering to the socialized conditions of its production, in a dialogical relationship with its audience. (shrink)

This booklet on Active Assisted Living (AAL) technologies has been created as part of the GoodBrother COST Action, which has run from 2020 to 2024. COST Actions are European research programs that promote collaboration across borders, uniting researchers, professionals, and institutions to address key societal challenges. GoodBrother focused on ethical and privacy concerns surrounding video and audio monitoring in care settings. The aim was to ensure that while AAL technologies help older adults and vulnerable individuals, their privacy and (...) data protection rights remain a top priority. This booklet is designed to guide you through the role that AAL technologies play in improving the quality of life for older adults, caregivers, and people with disabilities. AAL technologies offer tools for those facing cognitive or physical challenges. They can enhance independence, assist with daily routines, and promote a safer living environment. However, the rise of these technologies also brings important questions about data protection and user autonomy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Children’s Home Musical Experiences Across the World ed. by Beatriz Ilari, Susan YoungAmy Christine BeegleBeatriz Ilari and Susan Young, eds., Children’s Home Musical Experiences Across the World (Bloomington, IN: Indiana University Press, 2016)Historically, most studies of children’s musical learning have been informed by stage theories of developmental psychology and focused on school music or private instrumental lesson contexts. Over the past few decades, scholars have conducted research that (...) increasingly explores children’s involvement with music in contexts outside of formal learning settings, utilizing methods and models from ethnomusicology, sociology, social psychology, and/or cultural psychology. Nine individually authored chapters in the volume, Children’s Home Musical Experiences Across the World, edited by Beatriz Ilari and Susan Young, convey results, applications, and extensions of one such project that reaches beyond the conventional ethnographic music education study.The bulk of this collection contains findings and interpretations from a collaborative project called MyPlace, MyMusic, followed by several additional chapters that provide descriptions and narratives from subsequent related projects. The original project included fourteen scholars from the International Society of Music Education-Early Childhood Commission, who conducted in-home observations and interviews with parents and children in order to examine the nature of, influences on, and meaning of musical activities that took place in the homes of middle-class seven-year-olds in diverse locations, including Brazil, Denmark, [End Page 105] Greece, Israel, Kenya, the Netherlands, Singapore, Spain, South Africa, Taiwan, the U.K., and the United States.Importantly, the project’s designers attempted to avoid complications of transcultural developments by asking each researcher to select children whose families had not recently migrated to their country/locality. The seventeen participating children from twelve countries were also of the same ethnicity and lived in the same “locality” as each researcher in order to ease communication during in-home observations and interviews. Results shed light on issues of children’s family life, schooling, identity, gender, and social class.This project presents a unique contribution to the field of music education in a number of ways. First, most previous studies of music in the homes of children have centered around preschoolers, toddlers, and infants, whereas the present project focuses on seven-year-old children, whose age places them on the cusp of crossing from early to middle childhood. Second, most previous music education researchers have considered issues of social class, ethnicity, and race as independent variables, but the methodology for this project calls for observation and description of each child in his or her home first, followed by comparison of the “cases” to each other. Third, the researchers utilize a Wiki platform to share and collaboratively interpret data collected from home lives of children (photographs, video and audio recordings, texts, and pdf files) among researchers from different countries.The volume is organized into three major sections. Susan Young and Jèssica Pérez-Moreno set the scene in the first two chapters by describing the theoretical underpinnings and methodology for the MyPlace, MyMusic project. The second section of the book includes four chapters in which several individual researchers interpret the project’s data based upon the themes of children’s private musical worlds; belonging/identity/gendered meanings of children’s music making; perspectives and influences of parents; and the role of social class on children’s musical lives. The last three chapters of the book provide detailed descriptions of projects and extensions that developed after the MyPlace, MyMusic project.Following the introductory chapter, in which Ilari and Young explain the background, rationale, goals, and methods of the MyPlace, MyMusic project and provide a reader-friendly table that presents the cultural background and “sources of musical stimulation in the home” for each participating child,1 Susan Young outlines the theoretical and analytical frameworks for the project in the first chapter. Rather than viewing children’s learning as developing and socializing into adulthood, the project researchers were encouraged to look at children as being instead of becoming, as subjects, rather than objects of research, and as having opportunities for agency that are contextual. This theoretical framework stems from the field of Childhood Studies (as cultivated in Scandinavia [End Page 106] and... (shrink)

This is an edited collection of 39 original papers and as many commentaries and replies. The target papers and replies were written by senior members of the MIND Group, while all commentaries were written by junior group members. All papers and commentaries have undergone a rigorous process of anonymous peer review, during which the junior members of the MIND Group acted as reviewers. The final versions of all the target articles, commentaries and replies have undergone additional editorial review. -/- Besides (...) offering a cross-section of ongoing, cutting-edge research in philosophy and cognitive science, this collection is also intended to be a free electronic resource for teaching. It therefore also contains a selection of online supporting materials, pointers to video and audio files and to additional free material supplied by the 92 authors represented in this volume. We will add more multimedia material, a searchable literature database, and tools to work with the online version in the future. All contributions to this collection are strictly open access. They can be downloaded, printed, and non-commercially reproduced by anyone. DOI: 10.15502/9783958571020 http://dx.doi.org/10.15502/9783958571020 ISBN: 978-3-95857-102-0. (shrink)

A course on the Western philosophical tradition, with multiple lecturers, available in audio and video formats through the Great Courses.

It is a matter of fact that Europe is facing more and more crucial challenges regarding health and social care due to the demographic change and the current economic context. The recent COVID-19 pandemic has stressed this situation even further, thus highlighting the need for taking action. Active and Assisted Living technologies come as a viable approach to help facing these challenges, thanks to the high potential they have in enabling remote care and support. Broadly speaking, AAL can be referred (...) to as the use of innovative and advanced Information and Communication Technologies to create supportive, inclusive and empowering applications and environments that enable older, impaired or frail people to live independently and stay active longer in society. AAL capitalizes on the growing pervasiveness and effectiveness of sensing and computing facilities to supply the persons in need with smart assistance, by responding to their necessities of autonomy, independence, comfort, security and safety. The application scenarios addressed by AAL are complex, due to the inherent heterogeneity of the end-user population, their living arrangements, and their physical conditions or impairment. Despite aiming at diverse goals, AAL systems should share some common characteristics. They are designed to provide support in daily life in an invisible, unobtrusive and user-friendly manner. Moreover, they are conceived to be intelligent, to be able to learn and adapt to the requirements and requests of the assisted people, and to synchronise with their specific needs. Nevertheless, to ensure the uptake of AAL in society, potential users must be willing to use AAL applications and to integrate them in their daily environments and lives. In this respect, video- and audio-based AAL applications have several advantages, in terms of unobtrusiveness and information richness. Indeed, cameras and microphones are far less obtrusive with respect to the hindrance other wearable sensors may cause to one’s activities. In addition, a single camera placed in a room can record most of the activities performed in the room, thus replacing many other non-visual sensors. Currently, video-based applications are effective in recognising and monitoring the activities, the movements, and the overall conditions of the assisted individuals as well as to assess their vital parameters. Similarly, audio sensors have the potential to become one of the most important modalities for interaction with AAL systems, as they can have a large range of sensing, do not require physical presence at a particular location and are physically intangible. Moreover, relevant information about individuals’ activities and health status can derive from processing audio signals. Nevertheless, as the other side of the coin, cameras and microphones are often perceived as the most intrusive technologies from the viewpoint of the privacy of the monitored individuals. This is due to the richness of the information these technologies convey and the intimate setting where they may be deployed. Solutions able to ensure privacy preservation by context and by design, as well as to ensure high legal and ethical standards are in high demand. After the review of the current state of play and the discussion in GoodBrother, we may claim that the first solutions in this direction are starting to appear in the literature. A multidisciplinary debate among experts and stakeholders is paving the way towards AAL ensuring ergonomics, usability, acceptance and privacy preservation. The DIANA, PAAL, and VisuAAL projects are examples of this fresh approach. This report provides the reader with a review of the most recent advances in audio- and video-based monitoring technologies for AAL. It has been drafted as a collective effort of WG3 to supply an introduction to AAL, its evolution over time and its main functional and technological underpinnings. In this respect, the report contributes to the field with the outline of a new generation of ethical-aware AAL technologies and a proposal for a novel comprehensive taxonomy of AAL systems and applications. Moreover, the report allows non-technical readers to gather an overview of the main components of an AAL system and how these function and interact with the end-users. The report illustrates the state of the art of the most successful AAL applications and functions based on audio and video data, namely lifelogging and self-monitoring, remote monitoring of vital signs, emotional state recognition, food intake monitoring, activity and behaviour recognition, activity and personal assistance, gesture recognition, fall detection and prevention, mobility assessment and frailty recognition, and cognitive and motor rehabilitation. For these application scenarios, the report illustrates the state of play in terms of scientific advances, available products and research project. The open challenges are also highlighted. The report ends with an overview of the challenges, the hindrances and the opportunities posed by the uptake in real world settings of AAL technologies. In this respect, the report illustrates the current procedural and technological approaches to cope with acceptability, usability and trust in the AAL technology, by surveying strategies and approaches to co-design, to privacy preservation in video and audio data, to transparency and explainability in data processing, and to data transmission and communication. User acceptance and ethical considerations are also debated. Finally, the potentials coming from the silver economy are overviewed. (shrink)

IntroductionThe idea of video recording in the operating room with panoramic cameras and microphones is a new concept that is changing the approach to medical activities in the OR. However, VR in the OR has brought up many concerns regarding patient privacy and has highlighted legal and ethical issues that were never previously exposed.AimTo review the literature concerning these aspects and provide a better ethical and legal understanding of the new challenges concerning VR in the OR.ConclusionsThere is a disparity (...) between the two main legal models concerning VR in the OR, namely the European legal system ) and the American legal framework ). This difference mainly deals with two distinct bioethical paradigms: GDPR places a strong emphasis on protecting patients’ privacy to improve the public health system, whereas HIPAA indicates the need to generate protocols to safeguard the risks connected to medical activity and patient privacy. Following from this point, we may argue that, at the ethical and bioethical level, GDPR and HIPAA depend mainly on two different ethical models: a perspective based on moral acquaintances and weak proceduralism, respectively. It is worth noting the importance of developing additional guidelines concerning different world regions to avoid the ethical problems that may emerge when simply applying a foreign paradigm to a very different culture. (shrink)

In the Internet age, information security is threatened anytime and anywhere and the copyright protection of audio and video as well as the need for matching detection is increasingly strong. In view of this need, this paper proposes a zero-watermarking algorithm for audio and video matching based on NSCT. The algorithm uses NSCT, DCT, SVD, and Schur decomposition to extract video features and audio features and generates zero-watermark stream through synthesis, which is stored in (...) a third-party organization for detection and identification. The detection algorithm can obtain zero watermark from the audio and video to be tested and judge and locate tampering by comparing with the zero watermark of the third party. From the experimental results, this algorithm can not only detect whether the audio and video are mismatched due to tampering attacks but also locate the mismatched audio and video segments and protect the copyright. (shrink)

Digital video and photography are becoming aspects of everyday business activities, allowing for the quick modification and distribution of images. From development of websites to the editing of a single photograph on a desktop PC, people are using digital images in many business contexts. However, important business ethics issues are emerging concerning the malleability and veracity of digital images as well as their rapid dissemination on the Internet. Activities with digital video and photography in business ethics classrooms (...) can underscore a number of philosophical and moral concerns involving the nature of perception and documentation as well as surveillance. The era of video and photography as reliable “witnesses” to human interaction is gradually passing; they are becoming recognized as highly malleable media that give photographers wide leeway in modification, leading to issues involving the trustworthiness of photographic documentation in business contexts. Various exercises and scenarios that explore image modification issues are included in this article. Hands-on exercises can also be effective; students who create and subsequently edit digital portraits of themselves in the context of a business ethics class can gain valuable perspectives on role-taking and the ethical implications of deceptive communications. (shrink)

Ambient assisted living technologies are increasingly presented and sold as essential smart additions to daily life and home environments that will radically transform the healthcare and wellness markets of the future. An ethical approach and a thorough understanding of all ethics in surveillance/monitoring architectures are therefore pressing. AAL poses many ethical challenges raising questions that will affect immediate acceptance and long-term usage. Furthermore, ethical issues emerge from social inequalities and their potential exacerbation by AAL, accentuating the existing access gap between (...) high-income countries and low and middle-income countries. Legal aspects mainly refer to the adherence to existing legal frameworks and cover issues related to product safety, data protection, cybersecurity, intellectual property, and access to data by public, private, and government bodies. Successful privacy-friendly AAL applications are needed, as the pressure to bring Internet of Things devices and ones equipped with artificial intelligence quickly to market cannot overlook the fact that the environments in which AAL will operate are mostly private. The social issues focus on the impact of AAL technologies before and after their adoption. Future AAL technologies need to consider all aspects of equality such as gender, race, age and social disadvantages and avoid increasing loneliness and isolation among, e.g. older and frail people. Finally, the current power asymmetries between the target and general populations should not be underestimated nor should the discrepant needs and motivations of the target group and those developing and deploying AAL systems. Whilst AAL technologies provide promising solutions for the health and social care challenges, they are not exempt from ethical, legal and social issues. A set of ELSI guidelines is needed to integrate these factors at the research and development stage. (shrink)

[Abstract and PDF at the Pittsburgh PhilSci Archive] A slightly shorter version of this paper is to appear in a volume edited by Jonathan Barrett, Adrian Kent, David Wallace and Simon Saunders, containing papers presented at the Everett@50 conference in Oxford in July 2007, and the Many Worlds@50 meeting at the Perimeter Institute in September 2007. The paper is based on my talk at the latter meeting (audio, video and slides of which are accessible here).

[Abstract and PDF at the Pittsburgh PhilSci Archive] A slightly shorter version of this paper is to appear in a volume edited by Jonathan Barrett, Adrian Kent, David Wallace and Simon Saunders, containing papers presented at the Everett@50 conference in Oxford in July 2007, and the Many Worlds@50 meeting at the Perimeter Institute in September 2007. The paper is based on my talk at the latter meeting (audio, video and slides of which are accessible here).

The exciting world of HD video is in your hands Your Canon VIXIA HD camcorder delivers crisp video and still images with eye-catching, brilliant colors, enabling you to create amazing video works of art. To help you get all that your camcorder has to offer, this convenient, portable guide shows you how to use the various modes, settings, and features, but that's not all. It also provides an overview of videography fundamentals, then takes you into the field (...) with advice on using sound and light to their best advantage, editing your footage, choosing useful accessories, and more. Master the settings for VIXIA HD camcorder models HF10, HF11, HF100, HG10, HG20, and HG21, as well as HV20, HV30, and HR10. Experiment with exposure settings, white balance, image effects, zoom speed, and audio recording levels Learn more about developing a story, manipulating depth of field, composing shots, and protecting yourself with releases Transfer and edit your footage with iMovie® '09 or Pixela ImageMixer. (shrink)

Step-by-step guide for using your digital SLR to make quality video With digital SLR cameras becoming more and more popular as replacements for standalone video cameras, this book helps photographers become better videographers and shows videographers how to incorporate DSLRs into their work. The book includes an overview of the DSLR video tools and process and shows how to establish camera settings for effective capture, light a scene, get sound, and achieve the film look. The book also (...) offers the basics on editing footage into a final product using common video editing tools. Offers everything needed to shoot, produce, and edit a professional looking videos using DSLR video equipment Written for both professional photographers and videographers and those just starting out Includes the steps for applying information to a film project, including developing a screenplay, approaching shooting like a cinematographer, and directing Contains a walkthrough of common video projects including making a music video, a wedding video, and video greeting card Digital SLR Video and Filmmaking for Dummies is designed to help photographers ramp up their video skills, videographers add DSLRs to their toolkits, and amateurs begin shooting their own short films and videos. (shrink)

Previous research with speech and non-speech stimuli suggested that in audiovisual perception, visual information starting prior to the onset of corresponding sound can provide visual cues, and form a prediction about the upcoming auditory sound. This prediction leads to audiovisual interaction. Auditory and visual perception interact and induce suppression and speeding up of the early auditory event-related potentials such as N1 and P2. To investigate AV interaction, previous research examined N1 and P2 amplitudes and latencies in response to audio (...) only, video only, audiovisual, and control stimuli, and compared AV with auditory perception based on four AV interaction models. The current study addresses how different models of AV interaction express N1 and P2 suppression in music perception. Furthermore, the current study took one step further and examined whether previous musical experience, which can potentially lead to higher N1 and P2 amplitudes in auditory perception, influenced AV interaction in different models. Musicians and non-musicians were presented the recordings of a keyboard /C4/ key being played, as well as CO stimuli. Results showed that AV interaction models differ in their expression of N1 and P2 amplitude and latency suppression. The calculation of model and has consequences for the resulting N1 and P2 difference waves. Furthermore, while musicians, compared to non-musicians, showed higher N1 amplitude in auditory perception, suppression of amplitudes and latencies for N1 and P2 was similar for the two groups across the AV models. Collectively, these results suggest that when visual cues from finger and hand movements predict the upcoming sound in AV music perception, suppression of early ERPs is similar for musicians and non-musicians. Notably, the calculation differences across models do not lead to the same pattern of results for N1 and P2, demonstrating that the four models are not interchangeable and are not directly comparable. (shrink)

In this paper, I deal with video data not as a transparent window on social interaction but as a situated product of video practices. This perspective invites an analysis of the practices of video-making, considering them as having a configuring impact on both on the way in which social interaction is documented and the way in which it is locally interpreted by video-makers. These situated interpretations and online analyses reflexively shape not only the record they produce (...) but also the interactional order itself as it is documented. Dealing with practices of video-making not as a resource but as a topic, I explore a particular editing practice, the use of the split-screen technique, consisting in combining various camera views within the same image. This technique is now widely used in cinema, professional settings, TV, and social research. I focus on its uses in TV talk shows and debates: through a systematic sequential analysis of the positions where split screen is introduced, I show that directors do orient to the sequential features of interaction in using this technique and that, conversely, their uses of split screen reveal their local understanding—and configuring—of what the interactional dimension of debates and interviews consist of, for all practical purposes. (shrink)

The subject of the study is the process of many aspects of audiovisual creativity that must be taken into account when creating a video. The object of the work is to create a movie trailer through the use of design elements and graphics in the video sequence. The study examines the trailer of a post-apocalyptic fantasy genre called "Genesis", in which the two main characters are depicted as opposites. The work examines and describes in detail all the stages (...) of creating a video trailer for the film, including visual representation, audio accompaniment of the video sequence. The paper notes that the main goal of all the stages of trailer development considered in the article is to create an audiovisual project of professional quality. The main methods used in the study are visual effects modeling and 3D modeling in Houdini, creating realistic matte paintings in Photoshop and video compositing in Nuke. The main conclusions of the study are those specialized programs that allow you to create a high-quality author's product. This software will become the core of the project, since it is in it that all the elements will be combined into one final clip due to the high-quality integration of various objects of the scene. The novelty of the research lies in the fact that within the framework of the work, the characteristics of the possibilities of working with various video editors and graphic programs were carried out, which together help the creators of movie trailers and other similar products to realize the tasks of entertainment and quality of the projects produced. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of (...) the themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

Online data collection with infants raises special opportunities and challenges for developmental research. One of the most prevalent methods in infancy research is eye-tracking, which has been widely applied in laboratory settings to assess cognitive development. Technological advances now allow conducting eye-tracking online with various populations, including infants. However, the accuracy and reliability of online infant eye-tracking remain to be comprehensively evaluated. No research to date has directly compared webcam-based and in-lab eye-tracking data from infants, similarly to data from adults. (...) The present study provides a direct comparison of in-lab and webcam-based eye-tracking data from infants who completed an identical looking time paradigm in two different settings. We assessed 4-6-month-old infants in an eye-tracking task that measured the detection of audio-visual asynchrony. Webcam-based and in-lab eye-tracking data were compared on eye-tracking and video data quality, infants’ viewing behavior, and experimental effects. Results revealed no differences between the in-lab and online setting in the frequency of technical issues and participant attrition rates. Video data quality was comparable between settings in terms of completeness and brightness, despite lower frame rate and resolution online. Eye-tracking data quality was higher in the laboratory than online, except in case of relative sample loss. Gaze data quantity recorded by eye-tracking was significantly lower than by video in both settings. In valid trials, eye-tracking and video data captured infants’ viewing behavior uniformly, irrespective of setting. Despite the common challenges of infant eye-tracking across experimental settings, our results point toward the necessity to further improve the precision of online eye-tracking with infants. Taken together, online eye-tracking is a promising tool to assess infants’ gaze behavior but requires careful data quality control. The demographic composition of both samples differed from the generic population on caregiver education: our samples comprised caregivers with higher-than-average education levels, challenging the notion that online studies will per se reach more diverse populations. (shrink)

_What is this thing called Philosophy?_ is the definitive textbook for all who want a thorough introduction to the field. It introduces philosophy using a question-led approach that reflects the discursive nature of the discipline. Edited by Duncan Pritchard, each section is written by a high-profile contributor focusing on a key area of philosophy, and contains three or four question-based chapters offering an accessible point of engagement. The core areas of philosophy covered are: Ethics Political Philosophy Aesthetics Epistemology Philosophy of (...) Mind Metaphysics Philosophy of Science Philosophy of Religion The Meaning of Life. The accompanying Routledge companion website features valuable online resources for both instructors and students including links to audio and video material, multiple-choice questions, interactive flashcards, essay questions and annotated further reading. This is the essential textbook for students approaching the study of philosophy for the first time. (shrink)

Based on the findings about the importance of social support network in the success of treatment and long term recovery, this article will provide an insight of the successful elements in addiction individual and group counseling interaction through which addicts manage to overcome the denial of addiction, to accept the recovery program, to go through the stages of recovery, and to identify appropriate research methods for understanding the phenomenon of interaction in recovery from addictions. This exploratory study will attempt to (...) identify an innovative perspective of the aspects pertaining to the recovery from addiction which are susceptible to be disclosed primarily by using methods inspired by the analysis of interactions. The method used in research is qualitative focus group with addictions counsellors and people in recovery, working in a counseling center. Using the application of ELAN software to annotate and transcribe interactions from the video and audio recordings, it will situate the research on addiction and recovery from addiction in the larger field of investigations on communication processes in human interactions in various cultural, social and professional contexts. (shrink)

The present study examined whether cinematographic editing density affects viewers’ perception of time. As a second aim, based on embodied models that conceive time perception as strictly connected to the movement, we tested the hypothesis that the editing density of moving images also affects viewers’ eye movements and that these later mediate the effect of editing density on viewers’ temporal judgments. Seventy participants watched nine video clips edited by manipulating the number of cuts (slow‐ and fast‐paced (...) editing against a master shot, unedited condition). For each editing density, multiple video clips were created, representing three different kinds of routine actions. The participants’ eye movements were recorded while watching the video, and the participants were asked to report duration judgments and subjective passage of time judgments after watching each clip. The results showed that participants subjectively perceived that time flew more while watching fast‐paced edited videos than slow‐paced or unedited videos; by contrast, concerning duration judgments, participants overestimated the duration of fast‐paced videos compared to the master‐shot videos. Both the slow‐ and the fast‐paced editing generated shorter fixations than the master shot, and the fast‐paced editing led to shorter fixations than the slow‐paced editing. Finally, compared to the unedited condition, editing led to an overestimation of durations through increased eye mobility. These findings suggest that the editing density of moving images by increasing the number of cuts effectively altered viewers’ experience of time and add further evidence to prior research showing that performed eye movement is associated with temporal judgments. (shrink)

Who produces sound and music? And in what spaces, localities and contexts? As the production of sound and music in the 21st Century converges with multimedia, these questions are critically addressed in this new edited collection by Samantha Bennett and Eliot Bates. Critical Approaches to the Production of Music and Sound features 16 brand new articles by leading thinkers from the fields of music, audio engineering, anthropology and media. Innovative and timely, this collection represents scholars from around the world, (...) revisiting established themes such as record production and the construction of genre with new perspectives, as well as exploring issues in cultural and virtual production. (shrink)

Music is at the centre of what it means to be human – it is the sounds of human bodies and minds moving in creative, story-making ways. We argue that music comes from the way in which knowing bodies (Merleau-Ponty) prospectively explore the environment using habitual 'patterns of action' which we have identified as our innate ‘communicative musicality’. To support our argument, we present short case studies of infant interactions using micro analyses of video and audio recordings to (...) show the timings and shapes of intersubjective vocalisations and body movements of adult and child while they improvise shared narratives of meaning. Following a survey of the history of discoveries of infant abilities, we propose that the gestural narrative structures of voice and body seen as infants communicate with loving caregivers are the building blocks of what become particular cultural instances of the art of music, and of dance, theatre and other temporal arts. Children enter into a musical culture where their innate communicative musicality can be encouraged and strengthened through sensitive, respectful, playful, culturally informed teaching in companionship. The central importance of our abilities for music as part of what sustains our well-being is supported by evidence that communicative musicality strengthens emotions of social resilience to aid recovery from mental stress and illness. Drawing on the experience of the first author as a counsellor, we argue that the strength of one person’s communicative musicality can support the vitality of another’s through the application of skilful techniques that encourage an intimate, supportive, therapeutic, spirited companionship. Turning to brain science, we focus on hemispheric differences and the affective neuroscience of Jaak Panksepp. We emphasise that the psychobiological purpose of our innate musicality grows from the integrated rhythms of energy in the brain for prospective, sensation-seeking affective guidance of vitality of movement. We conclude with a Coda that recalls the philosophy of the Scottish Enlightenment, which built on the work of Heraclitus and Spinoza. This view places the shared experience of sensations of living – our communicative musicality – as inspiration for rules of logic formulated in symbols of language. (shrink)

Memory is a central epistemic resource, yet the interactional organization of shared remembering is largely unexplored. Drawing on a large corpus of video- and audio-recorded interactions in English and Russian, we examine a collection of over 50 cases in which participants are engaged in the activity of co-remembering. We show that memory formulations are commonly used as an evidential method to legitimize or support a claim or point of view in contexts of challenges, objections, disagreements, skepticism, resistance and (...) when alternative positions are on the floor. Our study indicates that in deploying memory formulations, interactants rely on the robust character of excavatable shared past experiences to provide an upgraded epistemic claim to support a contentious stance toward an alternative position. (shrink)

Nick Dyer-Witheford and Greig de Peuter. Games of Empire: Global Capitalism and Video Games . Minneapolis: University of Minnesota Press. 2009. 320pp. pbk. $19.95 ISBN-13: 978-0816666119. In Games of Empire , Nick Dyer-Witheford and Greig de Peuter expand an earlier study of “the video game industry as an aspect of an emerging postindustrial, post-Fordist capitalism” (xxix) to argue that videogames are “exemplary media of Empire” (xxix). Their notion of “Empire” is based on Michael Hardt and Antonio Negri’s Empire (...) (2000), which characterizes the contemporary world order as a decentralized system of global economic, political, and economic power that transcends national boundaries. In the view of the authors, Hardt and Negri’s account sets itself apart from other analyses of international politics by offering a “comprehensive account of conditions of work, forms of subjectivity, and types of struggle in contemporary capital” (xx). Dyer-Witheford and de Peuter thus divide Games of Empire into three sections to reflect each of these aspects of Empire ’s argument, seeing their work as the first account to explore “virtual games within a system of global ownership, privatized property, coercive class relations, military operations, and radical struggle” (xxix). Books in the University of Minnesota Press’s Electronic Mediations series “explore the humanistic and social implications” of new technologies that spark “significant changes in society and culture, politics and economics, thinking and being.” That’s an abstract goal, and one that Games of Empire surely meets. Yet at times it can be difficult to understand exactly which specific intervention this book seeks to make. It is unclear whether the authors of Games of Empire see their work as an indictment of game scholars’ lack of attention to political economy, or whether it’s a work of political theory hoping to show that other disciplines should be paying more attention to the production and play of videogames. Because Dyer-Witheford and de Peuter don’t directly criticize previous political critiques of gaming—such as Edward Castronova’s exploration of the “porous membrane” allowing two-way traffic between virtual economies and those of the real world, or Alexander Galloway’s unraveling of control protocols in algorithmic design, or Ian Bogost’s idea of political procedural rhetoric—they sometimes leave the reader wondering how to situate the book in the broader discourse on games and politics, either separately or together. Thus, Games of Empire might best be seen as an introduction to the writings of Hardt and Negri for game players and designers, rather than as a text for communicating the basic concepts of game studies and design. It is neither a truly new theory of games or digital media, nor is it a new theory of Empire—and that’s not a criticism. It is instead an introduction to Empire through popular culture, as Zizek does for Lacan in Looking Awry . If one were teaching an introductory course on contemporary political theory, this book would offer obvious inroads into Negri and Hardt’s thinking for a number of reasons. Despite its radical ideological bent, the book isn’t off-putting to readers who don’t necessarily share the authors’ politics. It synthesizes complex ideas from difficult thinkers like Marx, Foucault, and Guattari while integrating modifications and critiques of Empire theory itself. And although the book is dense, sometimes feeling longer than it actually is (just over 200 pages), Games of Empire maintains a breezy readability by tightly coupling core concepts of Empire theory to well-known games and widely-publicized conflicts within the videogame industry. The first section of the book focuses on immaterial labor, the accumulation of “cognitive capital,” and the global process of manufacturing videogame consoles. It is significant for the authors that videogames began as hacker experiments within research institutes of the military industrial complex, programmed on stolen time, before becoming a commodity (7). This is the first in a string of examples showing how creative dissidence and conflict fuel the continuing evolution of Empire’s control. Dyer-Witheford and de Peuter explain that the videogame industry now constitutes an international production apparatus dominating both creative work in developed nations and manual labor in developing ones. Because game industries in the United States, Western Europe, and Japan are predominately non-unionized, they serve as an exemplary system for analyzing how global capital exploits contemporary intellectual work—including an excellent analysis of the “EA Spouse” scandal of 2004. On the side of the consumer, the authors argue that rabid “console races” that drive the industry forward from a technological perspective serve to structure gamer identity and combat piracy; later in the book, these machines offer a window into the worlds of Congolese coltan mining and electronic waste (222-224). In the second section, Dyer-Witheford and de Peuter move on to deep case studies of individual games to show how the most popular game genres embed imperial assumptions about conflict, exchange, and urban life. First they argue that military training games such as Full Spectrum Warrior —co-developed by university researchers, industry developers, and military contractors—contribute to the “banalization” of war, a subjective state wherein perpetual preparedness for war is accepted as a part of everyday life (100). Chapter five covers Michel Foucalt’s notion of “biopower,” the extension of capital accumulation to life itself. The authors argue that virtual worlds such as World of Warcraft , which take market capitalism as a given and force players into essentialist roles and racial antagonisms, are organized to maximize control and profit (often on the backs of virtual currency “farmers” in China and southeast Asia). Finally, they criticize the naïve assumption that humor and cynicism in the popular sandbox game franchise Grand Theft Auto offer any remedy to its racialized, violent content. Instead, such games indulge and normalize the fantasy of getting rich at any cost by keeping the realities of contemporary urban life and corporate greed at a safe distance (181). Part three of Games of Empire focuses on “games of multitude,” a preliminary attempt to escape from Empire’s order through alternate modes of videogame development and play. Multitude is defined dialectically, as “the engine and the enemy” of Empire (187). This is the most important, yet also most contradictory section of the text. It lays bare the process by which Empire and its media feed our creative and intellectual development to overabundance. At a certain point, the force of the multitude reaches such a level that it threatens the stability of Empire; however, instead of following Hardt and Negri’s utopian assumptions about the radical potential of the multitude, the authors here follow Paolo Virno’s warning that Empire is “very good at adopting apparently iconoclastic practices and utopian ideas as management techniques and revenue sources” (188). At every turn, advances in player configurative power provide new sources of revenue and advertising angles for the game industry. A disappointing shortcoming of these latter pages is the lack of truly new examples for radical resistance within game development. Instead, it turns out that the radical left seems satisfied with the same mild successes that the left-of-center also has celebrated: artist’s mods, virtual world activism, and critical counterplay within strategy- and wargames. Having been frequently cited by many authors before Dyer-Witheford and de Peuter, this idea of subversion or resistance through play feels tired and unpersuasive. It is unclear if the authors believe it is possible to embrace game design itself as a way of pursuing what they call “exodus” from Empire, or if an all-too-fashionable subversion is the only workable strategy. While the book does explore how the earliest independent game studios were eventually subverted and incorporated into the game industry proper, it doesn’t affirm or critique more recent non-commercial, DIY game development projects such as Klik-of-the-Month Club and Ludum Dare. Dyer-Witheford and de Peuter’s analysis of so-called “tactical games,” including the editorial works of La Molleindustria, leads to an even more ambivalent take on the contemporary design ecology. At the conclusion of his essay on “Countergaming,” Galloway asserts that avant-garde videogame artists “should create new grammars of action […] should create alternative algorithms” (Galloway 125). Yet Dyer-Witheford and de Peuter characterize works such as McDonald’s Video Game and Oiligarchy as didactic, suggesting that the role of radical political games might be “limited to that of agitprop” (199). They are concerned that games like those of Molleindustria rigidly structure the activities of their players in order to prove a point. Yet, despite their repeated assertion that the equation of greater interactivity with democratic digital liberation is flawed, the authors see potential in policy simulators that “allow players to edit or tweak” (202) their parameters in response to what Bogost has called simulation fever , the simultaneous drive toward and fear of simulation (Bogost 108). The possibility of practicing radical design is bucked, and early attempts at critical game development like those of Molleindustria’s seem to be relegated to the status of exceptions that prove the rule for player-centered exodus. Overall, there is one glaring question Games of Empire leaves unanswered: how exactly are videogames the “exemplary media” of Empire, and what are the implications of videogames being exemplary in this way? Presumably Dyer-Witheford and de Peuter want to avoid essentialist claims, so they’re not keen on following Wark’s desire to mark “the game’s difference from [legacy media] as something that speaks to changes in the overall structure of social and technical relations” (Wark 225). It is also unclear how the production apparatuses, labor standards, and subjectivizing processes involved in the creation and use of other any other kind of digital media would fail to justify their equally exemplary status. Even the book’s concluding paragraph holds that virtual games “are one molecular component of this undecidable collective mutation” (Dyer-Witheford and de Peuter 229) of intellect, labor, and daily life. In the end, the authors seem to back away from their focus on games as exemplary to bring their work in line with broader theories of the gradual digitization of the everyday, in line with Galloway and Manovich. Despite these flaws, there is an undeniable elegance to Games of Empire ’s contrasting of gaming’s overwhelmingly imperial content with its multitudinous form . And its ambivalence about the potential of independent or political game development might be seen by scholars of Empire as a strength rather than a weakness, an acceptance that every new expression of multitude offers another opportunity for the expansion of Empire. The book also functions as a strong, all-encompassing call to greater responsibility on the part of mainstream game developers to be more conscious of the ideologies they embed in their work, of the way their intellectual property is used and manipulated by those who employ them, and of the material impact their industry has on the world at large. For players it offers a toolbox of concepts for radical examinations of their own play activities, asking them to be more cognizant of the consequences of their consumption of digital media and the ways in which their virtual lives interface with the real. REFERENCES Bogost, Ian. Unit Operations: An Approach to Videogame Criticism . Cambridge, Mass.: MIT Press, 2006. Castranova, Edward. Synthetic Worlds: The Business and Culture of Online Games . Chicago, Illinois: University of Chicago Press, 2006. Dyer-Witheford, Nick and de Peuter, Greig. Games of Empire: Global Capitalism and Video Games . Minneapolis, Minnesota: University of Minnesota Press, 2009. Galloway, Alexander. Gaming: Essays on Algorithmic Culture . Minneapolis, Minnesota: University of Minnesota Press, 2006). Wark, McKenzie. Gamer Theory . Cambridge, Mass.: Harvard University Press, 2007. (shrink)

_Lux: A Decade of Artists' Film and Video_ Edited by Steve Reinke and Tom Taylor Toronto: YYZ Books, 2000 ISBN 0-920397-26-3 373 pp.

Music is the carrier through which human beings express their emotions. It can clean up their hearts and seek emotional resonance. The combination of music and artificial intelligence, when music meets artificial intelligence, the mathematical logic part of data and algorithm replaces the image thinking, resulting in automatic music production. The basic principle of music creation is to use artificial intelligence technology to conduct in-depth training on a large number of songs, and then build a database. Then, within a certain (...) period of time, extract a segment from several songs, and then decompose it to form a new melody. The automatic music production is the collision of music and technology. With the flying of code and notes, it creates a different kind of beauty. Music culture is a new field of music application. With its refreshing audio-visual effect, it has made people have a new understanding of music and has become a hot topic in current mass cultural activities. The sound quality characteristics of music culture programs determine the characteristics of simple, fast and efficient design. However, the current audio and video design still stays in the traditional audio and video form design, with low design efficiency, long cycle, high cost and high requirements for designers. In view of the fact that the traditional audio and video design mode in China's music and cultural programs cannot meet the needs of performance programs at present, this paper proposes a design scheme of audio and visual effects of music and cultural programs with intelligent devices as the core, and develops a complete set of audio and visual effects aided design system on this basis. (shrink)

In this position paper, we have used Alan Cooper’s persona technique to illustrate the utility of audio- and video-based AAL technologies. Therefore, two primary examples of potential audio- and video-based AAL users, Anna and Irakli, serve as reference points for describing salient ethical, legal and social challenges related to use of AAL. These challenges are presented on three levels: individual, societal, and regulatory. For each challenge, a set of policy recommendations is suggested.

Misophonia has been characterized as intense negative reactions to specific trigger sounds. However, recent research suggests high-level, contextual, and multisensory factors are also involved. We recently demonstrated that neurotypicals’ negative reactions to aversive sounds are attenuated when the sounds are synced with positive attributable video sources. To assess whether this effect generalizes to misophonic triggers, we developed a Sound-Swapped Video database for use in misophonia research. In Study 1, we created a set of 39 video clips depicting (...) common trigger sounds and a corresponding set of 39 PAVS temporally synchronized with the OVS videos. In Study 2, participants rated the 39 PAVS videos for their audiovisual match and pleasantness. We selected the 20 PAVS videos with best match scores for use in Study 3. In Study 3, a new group of participants observed the 20 selected PAVS and 20 corresponding OVS and judged the pleasantness or unpleasantness of each sound in the two contexts accompanying each video. Afterward, participants completed the Misophonia Questionnaire. The results of Study 3 show a robust attenuating effect of PAVS videos on the reported unpleasantness of trigger sounds: trigger sounds were rated as significantly less unpleasant when paired with PAVS with than OVS. Moreover, this attenuating effect was present in nearly every participant regardless of their score on the MQ. In fact, we found a moderate positive correlation between the PAVS-OVS difference and misophonia severity scores. Overall our results provide validation that the SSV database is a useful stimulus database to study how misophonic responses can be modulated by visual contexts. Here, we release the SSV database with the best 18 PAVS and 18 OVS videos used in Study 3 along with aggregate ratings of audio-video match and pleasantness. We also provide detailed instructions on how to produce these videos, with the hope that this database grows and improves through collaborations with the community of misophonia researchers. (shrink)

This article examines a new dimension in the Nigerian Pentecostal understanding of sexuality, which is influenced by the security gospel emanating from Mountain of Fire and Miracles Ministries in Nigeria. This new dimension is noted in how Mountain of Fire and Miracles Ministries intricately connects sexuality with destiny. This article shows how Mountain of Fire and Miracles Ministries promotes a conservative understanding of sexuality as the key to securing believers' destinies. Understanding sexuality from the security gospel perspective is an indication (...) that the Pentecostal theology of sex is dynamic and ambivalent, especially when the theology is spiced with African traditional beliefs. This is demonstrated through a content analysis of the teachings and messages of Pastor Daniel Olukoya, the founder of Mountain of Fire and Miracles Ministries, which are available in print, audio and video clips. It is argued that the persuasive manner in which these teachings are presented tends to create a phobia of sex in the minds of listeners. (shrink)

LikeI thinkin English,(eu) acho quein Brazilian Portuguese can function as a discourse marker (DM) with more than one meaning, and these meanings are curiously diametrically opposed. Certainty, doubt or uncertainty is inferred by hearers in an interactional context. In a sample of audio-video recorded interviews, the occurrences of this DM were classified by meaning, and association tests between meanings and linguistic factors (pronoun realization, polarity, position in utterance), real-world features (type of evidence from which the speaker says something, (...) and discursive topic), prosody (F0, intensity and duration), and facial expressions were carried out. Differences that distinguish these factors were identified among certainty, doubt and uncertainty uses. The certainty meaning of(eu) acho quewas associated with pronoun presence, more formality and topics in which the speaker had direct evidence. Uncertainty and doubt were associated with pronoun absence, less formality and topics in which the speaker did not have direct evidence. Patterns of intensity and duration acted to distinguish the certainty, doubt and uncertainty meanings of(eu) acho que. In a conditional decision tree, the position in utterance, presence of a pronoun, type of speaker’s evidence, discursive topic, and duration helped to disambiguate the meanings of(eu) acho que. These results suggest the relevance of a multilevel approach to describe DM, in different languages, at least with respect to mental state verbs. (shrink)

This article addresses the relationship between content, voice, and body language in persuasive communication and the contribution of these three elements of persuasive performances to its overall persuasiveness. Findings are presented from two separate laboratory experiments. In the first experiment three versions of a video displaying a speech were shown to three different groups of participants: without vocal emphasis and without gestures of the speaker, with vocal emphasis but without gestures, with vocal emphasis and gestures. Audio tracks of (...) the first two experimental conditions were later used in the second experiment to analyze the effects of vocal emphasis when no visual cues are present. Measurement included a questionnaire as well as Real Time Response-measurement. It was found that content dominates the effect of the speech; emphasis and gestures, however, improved the perception of some features of the speech, such as liveliness and power. Audio-only versions yielded similar results but were rated more favorably in general. (shrink)

This article describes an artwork in progress; a digital video of synchronized visual patterns based in part on rhythmic practices that are said to reliably lead to a shifted state of consciousness. The artwork is being developed to further understand the correlation of rhythm and consciousness. The investigation is based on a comparative study of the following practices: ‘The Art of Memory’ and Raymon Llull’s thirteenth-century diagrammatic mnemonics, the Lucid Dreaming exercises developed at Stanford University and the African (...) Yoruba rhythms of ritualized possession. Throughout history, states of extreme lucidity, whether described as ‘ah-ha’ moments or life-transforming epiphanies, have been described with striking consistently and with such frequency that, rather than extraordinary, they seem to be fundamental to the human condition. The paradoxical state of lucid dreaming has been scientifically identified at Stanford University as a state of wakeful awareness that occurs during REM sleep, while dreaming. We might anticipate in the near future, the identification of a wakeful state of lucidity, a state as distinct from normal wakeful awareness as the state of dreaming. Those who have experienced altered states of consciousness can lend unique perspective and insight into the nature of consciousness. Analysis of practices that lead to such states add further insight. From running, to rhythmic breathing, to the circular movement of pilgrims at Mecca, to circular mosh pits, rhythmic activity is prevalent among practices that are said to lead to a shifted state of consciousness. The research suggests that in addition to rhythm itself, the relationship between rhythms is a significant factor corresponding to shifted states of consciousness. The digital video artwork discussed in this article might be thought of as a visualization of such rhythmic sequencing, and its development a creative method of inquiry. (shrink)

We examined whether facial expressions of performers influence the emotional connotations of sung materials, and whether attention is implicated in audio-visual integration of affective cues. In Experiment 1, participants judged the emotional valence of audio-visual presentations of sung intervals. Performances were edited such that auditory and visual information conveyed congruent or incongruent affective connotations. In the single-task condition, participants judged the emotional connotation of sung intervals. In the dual-task condition, participants judged the emotional connotation of intervals while performing (...) a secondary task. Judgements were influenced by melodic cues and facial expressions and the effects were undiminished by the secondary task. Experiment 2 involved identical conditions but participants were instructed to base judgements on auditory information alone. Again, facial expressions influenced judgements and the effect was undiminished by the secondary task. The results suggest that visual aspects of music performance are automatically and preattentively registered and integrated with auditory cues. (shrink)

Deepfakes raise various concerns: risks of political destabilization, depictions of persons without consent and causing them harms, erosion of trust in video and audio as reliable sources of evidence, and more. These concerns have been the focus of recent work in the philosophical literature on deepfakes. However, there has been almost no sustained philosophical analysis of deepfakes from the perspective of concerns about honesty and dishonesty. That deepfakes are potentially deceptive is unsurprising and has been noted. But under (...) what conditions does the use of deepfakes fail to be honest? And which human agents, involved in one way or another in a deepfake, fail to be honest, and in what ways? If we are to understand better the morality of deepfakes, these questions need answering. Our first goal in this paper, therefore, is to offer an analysis of paradigmatic cases of deepfakes in light of the philosophy of honesty. While it is clear that many deepfakes are morally problematic, there has been a rising counter-chorus claiming that deepfakes are not essentially morally bad, since there might be uses of deepfakes that are not morally wrong, or even that are morally salutary, for instance, in education, entertainment, activism, and other areas. However, while there are reasons to think that deepfakes can supply or support moral goods, it is nevertheless possible that even these uses of deepfakes are dishonest. Our second goal in this paper, therefore, is to apply our analysis of deepfakes and honesty to the sorts of deepfakes hoped to be morally good or at least neutral. We conclude that, perhaps surprisingly, in many of these cases the use of deepfakes will be dishonest in some respects. Of course, there will be cases of deepfakes for which verdicts about honesty and moral permissibility do not line up. While we will sometimes suggest reasons why moral permissibility verdicts might diverge from honesty verdicts, we will not aim to settle matters of moral permissibility. (shrink)

Deepfake technology uses machine learning to fabricate video and audio recordings that represent people doing and saying things they've never done. In coming years, malicious actors will likely use this technology in attempts to manipulate public discourse. This paper prepares for that danger by explicating the unappreciated way in which recordings have so far provided an epistemic backstop to our testimonial practices. Our reasonable trust in the testimony of others depends, to a surprising extent, on the regulative effects (...) of the ever-present possibility of recordings of the events they testify about. As deepfakes erode the epistemic value of recordings, we may then face an even more consequential challenge to the reliability of our testimonial practices themselves. (shrink)

Information education has been vigorously promoted in various countries, making the application of information technologies in language education popular. The combination of information technologies and Japanese learning can make information technologies a practical tool to promote the thinking and cognitive abilities of students in Japanese learning. Corpus teaching is a kind of information technologies integrated teaching method, which enables students to carry out meaningful Japanese learning and promotes learning performance and learning effect of students. Based on information education, the Japanese (...) learning method under Internet corpus is constructed and applied to practical teaching. This study investigates learning performance and the learning effect of students through a questionnaire. Through the experimental design, Japanese teaching has been conducted on 322 students in a university in Shanghai for 18 weeks under the experimental Internet corpus. Through the experiment, it is found that various factors affect the Internet corpus learning method, and the linear relationship between the influencing factors is divided. Through the comparison results, it is also found that the Internet corpus teaching method can have a positive impact on the learning performance of students and then promote their learning effect. The application of Internet corpus learning matches the development of text corpus and audio corpus and the support of picture databases. Audio and video corpora can effectively improve the learning performance and the learning effect of students by searching for learning content in the database. Suggestions are put forward that the government should optimize its policies to promote Japanese learning and informal education based on learning performance. (shrink)

BackgroundSocial cognition and competence are a key part of daily interactions and essential for satisfying relationships and well-being. Pediatric neurological and psychological conditions can affect social cognition and require assessment and remediation of social skills. To adequately approximate the complex and dynamic nature of real-world social interactions, innovative tools are needed. The aim of this study was to document the performance of adolescents on two versions of a serious video game presenting realistic, everyday, socio-moral conflicts, and to explore whether (...) their performance is associated with empathy or sense of presence, factors known to influence social cognition.MethodsParticipants first completed a pre-test measure of socio-moral reasoning based on three dilemmas from a previously validated computer task. Then, they either played an evaluative version or an adaptive version of a video game presenting nine social situations in which they made socio-moral decisions and provided justifications. In the evaluative version, participants’ audio justifications were recorded verbatim and coded manually to obtain a socio-moral reasoning maturity score. In the adaptive version, tailored feedback and social reinforcements were provided based on participant responses. An automatic coding algorithm developed using artificial intelligence was used to determine socio-moral maturity level in real-time and to provide a basis for the feedback and reinforcements in the game. All participants then completed a three-dilemma post-test assessment.ResultsThose who played the adaptive version showed improved SMR across the pre-test, in-game and post-test moral maturity scores, F = 9.81, pHF < 0.001, ϵ2 = 0.21, but those who played the Evaluative version did not. Socio-moral reasoning scores from both versions combined did not correlate with empathy or sense of presence during the game, though results neared significance. The study findings support preliminary validation of the game as a promising method for assessing and remediating social skills during adolescence. (shrink)

This article investigates the hypothesis of creating non-linear audio-visual narratives, through an unanticipated use of traditional print-based games, enriched with videos, via augmented reality (AR) possibilities. A ludic system has been created and presented. Based on a traditional card game, a non-linear cinematic narrative occurs. We attempt to examine the following questions: in which way can we bring together different forms of visual communication, such as graphic design and video? Can the above forms create a complex narrative whole (...) and what kind of rules will be needed for this? How can we enrich traditional forms of gaming with the potentials of AR? Gaming itself demands a set of rules. Can these rules play the role of algorithms in the combined universe that we have designed and created? In which way can the designer on the one hand and the user on the other influence the overall output of the system? What will the user experience be like? The printed card system chosen for this is Tarot and more precisely the Great Arcana, which makes use of the 22 fundamental Tarot figures. (shrink)

Are there opportunities to use the plural to express the first person (“I”) of “the same person” in English? It means that the self is an entity that guarantees uniqueness and is at the core of identity. Recently, radical and rapid innovations in AI technologies have made it possible to alter our existential fundamentals. Principally, we are now interacting with “virtual personalities” generated by generative AI. Thus, there is an inevitability to explore the relationship between AI and society, and the (...) problem domain of phenomenological sociology related to the “virtuality” of personalities and the world. Encountering and interacting with “others without subject” artificially generated by generative AI based on individual big data and attribute data is a situation that mankind has never experienced before from the perspective of sociology and phenomenological sociology related to the ego. The virtual personalities can be perceived as if it were interacting with existing humans in the form of video and audio, and it is also possible to arbitrarily change their attributes (e.g., gender, race, age, physical characteristics) and other settings, as well as to virtually create deceased persons or great figures from the past. Such technological innovation is, so to speak, a virtualization of human existential identity, and advanced technologies such as AI will transform not only the boundary between self and others but also the aspect of human existence itself (Shibuya in Digital transformation of identity in the age of artificial intelligence. Springer, Belrin, 2020). In addition, from a phenomenological viewpoint, the boundary between reality and virtuality is blurring due to technological innovation in the living world itself, and there is a concern that this will lead to an artificial state of detachment. Actually, the use of advanced technologies such as AI, VR in virtual worlds and cyberspace will not only cause people to lose their reality and actuality but will also endanger the very foundations of their existential identity. Therefore, we must ask what it means for us as existences to interact with virtual personalities in a virtually generated world, and what is the nature of the intersubjectivity formation and semantic understanding as well as the modes of existence, facts, and worlds, and what are their evidential natures. In line with what Husserl, the founder of phenomenology, once declared at the beginning of his “Cartesianische Meditationen” (Husserl in Cartesianische Meditationen, e-artnow, 2018), that “we need to begin philosophy radically anew”, as also phenomenological sociology, it can now state that “we need to begin phenomenological sociology radically anew”. Then, this paper reviews and discusses the following issues based on technological trends. (shrink)

BackgroundVideo-calls have proven to be useful for older care home residents in improving socialization and reducing loneliness. Nonetheless, to facilitate the acceptability and usability of a new technological intervention, especially among people with dementia, there is a need for user-led design improvements. The current study conducted focus groups with an embedded activity with older people to allow for a person-centered design of a video-call intervention.MethodsTwenty-eight residents across four care homes in the South West of England participated in focus groups (...) to aesthetically personalize and ‘dress-up’ the equipment used in a video-call intervention. Each care home was provided with a ‘Skype on Wheels’ device, a wheelable ‘chassis’ comprising an iPad or tablet for access to Skype, and a telephone handset. During the focus group, residents were encouraged to participate in an activity using colorful materials to ‘dress-up’ SoW. Comments before, during and after the ‘dress up’ activity were audio recorded. Framework analysis was used to analyze the focus group data.ResultsOlder people, including seven with dementia were able to interact with and implement design changes to SoW through aesthetic personalization. Themes arising from the data included estrangement, anthropomorphism, reminiscence, personalization, need for socialization versus fear of socialization and attitudes toward technology. After this brief exposure to SoW, residents expressed the likelihood of using video-calls for socialization in the future.ConclusionCare home residents enjoy engaging with new technologies when given the opportunity to interact with it, to personalize it and to understand its purpose. Low cost aesthetic personalization of technologies can improve their acceptability, usability, and implementation within complex care environments. (shrink)