Dissertations / Theses: 'Digital compositing'

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Stanley, Michael Leighton. "Digital compositing with traditional artwork." Texas A&M University, 2005. http://hdl.handle.net/1969.1/2643.

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This thesis presents a general method and guidelines for compositing digital characters into traditional artwork by matching a character to the perspective, lighting, style, and complexity of the particular work of art. The primary goal of this integration is to make the resulting image believable, but not necessarily to create an exact match. As a result, the approach used here is not limited to a single rendering style or medium, but can be used to create a very close match for almost any artistic image. To develop and test this method and set of guidelines I created composites using a variety of styles and mediums.

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Gustafsson, Pär. "Digital compositing i 3D-miljö." Thesis, University of Gävle, Ämnesavdelningen för datavetenskap, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-5641.

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I dagens visuella effekter är digital compositing en av de viktigaste processerna. Från att uteslutande ha utförts i 2D har digital compositing dock kommit att innebära en alltmer tredimensionell process. Det här arbetet reder ut begreppet 3D-compositing och sammanställer vilka 3D-compositingtekniker som är vanligt förekommande. Ett urval av dessa tekniker tillämpas sedan i en egen effektsekvens. Slutsatsen blir att det är kombinationen av 3D-funkionalitet och 2D-compositing i samma program som är styrkan med digital compositing i 3D-miljö.

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Amelang, Daniel James. "Jitblt efficient run-time code generation for digital compositing /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1457313.

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Thesis (M.S.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed Nov. 6, 2008). Available via ProQuest Digital Dissertations. Includes bibliographical references (p. 28-30).

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Abler, Jensen. "Rendering and Compositing for Visual Effects." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/honors/232.

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The methods used to create visual effects for feature film production are quickly evolving. Cutting edge techniques are constantly being improved upon, and the capability to solve unique problems is paramount in real world production. I present a creative project which utilizes novel applications of common techniques, such as projection mapping, multi-tile UV workflows, procedural texture generation, normal mapping, and image based lighting.

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Sencar, Isil. "The New Montage: Digital Compositing And Its Generative Role In Architecture." Master's thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/12609214/index.pdf.

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This thesis is an investigation on the changing concept of space and its production, through a reconsideration of montage in the digital environment. Since the beginning of the twentieth century, collage and montage have been one of the key terms that lead the movements of art and architecture. Towards the end of the 80s, however, as a result of the introduction of the digital environment, the quality and quantity of methods of production and transfer of knowledge have increased and the flow of information has gained a noticeable importance. Through recent developments, the digital environment offers many opportunities for representation in architectural field as well as other professions. Montage, which is a technique for construction of a new meaning or entity throughout its history, now changes its character with the infinitely many opportunities digital environment proposes as well. Therefore, this thesis tries to examine the changing scope and formulation of montage in this specific environment through the example of digital compositing which is a recent design and production technique used in the field of photography and cinema. Digital compositing provides layering, editing and merging numerous elements in one frame. Through its inherent potential of decomposing time and juxtaposing different modes of realities, the concept of space and production and visualization techniques in the digital medium change also affecting the roles of the designer and the user in the process. Thus, this new formulation brings forward a new understanding of design process that acts as an interface both spatially and temporally.

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Andrijasevic, Neda, and Mirjam Johansson. "Digital Compositing for Photorealism and Lighting in Chroma key film studio." Thesis, Högskolan i Jönköping, Tekniska Högskolan, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-19845.

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Photorealism is what visual effects are all about most of the time. This report entails digital compositing and studio lighting, in relation to Chroma key film material, aimed to give a photorealistic impression. One of the identified problems in this report is that compositors may get Chroma key footage where the lighting is done poorly, which means a lot of extra work for the compositors and it might even make it impossible to create the desired end result. Another problem recognized is that the knowledge that these professions possess is often tacit, not available in texts or even functionally defined. Considering these problems, the purpose of this report is to articulate and try the tacit knowledge found in respect to these research questions: Which factors can alter the photorealistic impression of filmed Chroma key material? To what extent can different factors be altered in the compositing process, for a photorealistic result? How can a photorealistic result from composited Chroma key material be enabled and facilitated, with focus on studio lighting? Methods used to answer these questions are interviews with compositors, a case study of a small video production, and the production of video clips, including studio lighting and compositing. While professionals often write about the importance of consistency in image characteristics between different element that are composited together, this report defines which specific features that ought to be consistent, for a photorealistic result. Further findings are focused on the limitations of the compositor; i.e. the features that are possible to manipulate and the features that have to be set correctly when filming in the studio, to enable a photorealistic outcome. Nonetheless, the main focus will be on the features of lighting set in the Chroma key film studio. In fact, there are many features that are crucial for enabling and facilitating the compositing of a photorealistic end product. While some of the findings are new, others confirm what has already been presented.

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Johnson, Paul. "Invisibilising the corporeal : exploring concepts of compositing and digital visual effects." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/4055.

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This thesis seeks to explore the way in which invisibility as a concept becomes explicitly housed within digital compositing, visual effects (VFX) and certain attendant techniques. The chapters will establish how compositing and effects techniques can be seen as pushing modern filmmaking into concealing, and therefore visually releasing, certain physical structures within films’ images and their production. This shall be achieved by drawing upon a combination of texts that disseminate the technical nature and make-up of VFX, alongside discussion and theorisation of their use within cinema, together with other established film theory. I will examine cases of VFX techniques within cinema that can be used to investigate how their construction and utilisation create invisibility to accommodate and nullify the profilmic elements captured through the camera and aspects of technology. The chapters begin by examining how the work of Georges Méliès, whose films use the concept of invisibility to promote a breakdown of temporal and spatial qualities, become redeployed in certain modern digital effects-based films. Expanding on this, the second chapter explores how theories surrounding realism as espoused through mise-en-scène and the so-called physical “truth” of the captured world can be rearticulated through VFX both optical and digital. Chapter three looks at how breaking down the physical structure of a performer through VFX and motion-capture result in characterisations that produce a sense of ghostliness, where the Bazinian mummification of photographic capture has new existence breathed into it. Finally, chapter four explores how recent developments in effects techniques in creating the Invisible Man act as a reflection of the physical body unbound in a digital world. Here, the digital infrastructure of modern culture, such as the Internet, is used to highlight how a more free-flowing and vivacious body can exist and make use of unseen and non-physical practices to commit nefarious acts, such as hacking. It is these aspects that become reflected in the most recent film iteration of the Invisible Man, Hollow Man (2000).

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Grönlund, Sven. "Utvecklingen av digital compositing : Från att skapa konstgjorda verkligheter i kameran till att göra det digitalt." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-64968.

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Grundhöfer, Anselm [Verfasser], and Oliver [Akademischer Betreuer] Bimber. "Synchronized Illumination Modulation for Digital Video Compositing / Anselm Grundhöfer ; Betreuer: Oliver Bimber." Weimar : Juniorprofessur Augmented Reality, 2010. http://d-nb.info/1115342398/34.

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Dunn, Brandi Jannine. "Creating believabilty and the effects of technology on compositing." Texas A&M University, 2006. http://hdl.handle.net/1969.1/4752.

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This thesis focuses on the importance of technology to create believably composited effects. It was found that many factors culminate in generating believability in a film, including: suspension of disbelief, the story, and the quality of the special effects. Many technical aspects lend to the creation of successful special effects and are involved during every stage of production. There is a discussion of several of the important criteria analyzed during preproduction, production, and post production. A brief history of the technical effect industry is discussed. Personal work for this project includes three case studies. In the form of short video projects, these studies are applications of the researched industry concepts. They deal with issues including incorporation of digital models into live action footage, using pre-existing footage, digital makeup, motion tracking, masking, color correction, and generation of artificial lights and shadows. The creation of these videos included video recording and editing and used Maya TM and After Effects TM. The final shorts showed examples of the strengths and weaknesses of the applied compositing techniques. Implications for the future directions of this field are also discussed.

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Isaksson, Anne. "An Approach To Control Visual Intensity Through Digital Compositing : A way to manipulate visual intensity with compositing by altering space, line, shape, tone, color, movement and rhythm." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-64886.

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Hirsh, David E. "Photorealistic Rendering for LIve-Action Video Integration." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/honors/399.

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Mustafa, Mohammad. "Video-Based 3D Textures." Thesis, University of Gävle, Department of Mathematics, Natural and Computer Sciences, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-163.

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A new approach for object replacement in 3D space is presented. Introducing a technique that replaces the older two dimensional (2D) based facial replacement method performed by compositing artist in motion picture productions and video commercial industry.

This method uses 4 digital video cameras filming an actor from 360 degrees, the cameras are placed with 90 degrees in between, the video footage acquired is then used to produce a 3D video texture consisting of video segments taken from different angles representing the object from 3D point of view.

The video texture is then applied to a 3D modelled head matching the geometry of the original object.

Offering the freedom of showing the object from any point of view from 3D space, which is not possible using the current two dimensional method where the actormust at all time face the camera.

The method is described in details with images showing every stage of the process.

Results are presented as still frames taken from the final video footage and as a video file demonstrating them.

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Karlsson, Fredrik. "Matting of Natural Image Sequences using Bayesian Statistics." Thesis, Linköping University, Department of Science and Technology, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-2355.

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The problem of separating a non-rectangular foreground image from a background image is a classical problem in image processing and analysis, known as matting or keying. A common example is a film frame where an actor is extracted from the background to later be placed on a different background. Compositing of these objects against a new background is one of the most common operations in the creation of visual effects. When the original background is of non-constant color the matting becomes an under determined problem, for which a unique solution cannot be found.

This thesis describes a framework for computing mattes from images with backgrounds of non-constant color, using Bayesian statistics. Foreground and background color distributions are modeled as oriented Gaussians and optimal color and opacity values are determined using a maximum a posteriori approach. Together with information from optical flow algorithms, the framework produces mattes for image sequences without needing user input for each frame.

The approach used in this thesis differs from previous research in a few areas. The optimal order of processing is determined in a different way and sampling of color values is changed to work more efficiently on high-resolution images. Finally a gradient-guided local smoothness constraint can optionally be used to improve results for cases where the normal technique produces poor results.

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Lisounenko, Neto Alexei. "Composição digital : o uso de ferramentas digitais como instrumento de composição musical /." Bauru, 2020. http://hdl.handle.net/11449/192100.

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Orientador: Eduardo Martins Morgado
Resumo: A escrita e criação musical sofreram grandes mudanças com o advento das tecnologias digitais. Das inscrições em paredes da civilização pré-histórica, passamos para a pena, o lápis, a caneta chegando ao computador. Com a criação e evolução dos programas de composição musical o compositor passou a ter uma ferramenta que aumenta as possibilidades e facilidades de criação. Programas onde são permitidos escrever música com o teclado do computador, com o teclado virtual, ou até mesmo com o auxílio de um instrumento musical eletrônico, armazenar a música composta, inserir regras de composições, se transformam num importante assistente do músico, podendo auxiliá-lo a descobrir novas possibilidades e criar novos rumos para a composição musical. As tecnologias digitais dão suporte para a produção e distribuição de informações que causam grandes impactos na forma de criar e no que se cria. Com estas tecnologias, além de escrever, é possível ouvir o que foi escrito, e com os sons dos instrumentos escolhidos. Com estas ferramentas um compositor pode escutar a sua obra completa antes mesmo dela ser experimentada por músicos. Essa funcionalidade permite ao compositor corrigir eventuais erros e verificar se o resultado final ficou de acordo com o esperado, permitindo alterações e até novas experiências com notas e instrumentos. Os objetos deste trabalho são softwares de composição musical. O objetivo geral foi selecionar softwares de composição musical que salvem em arquivo MIDI, MusicXML, P... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: Musical writing and creation went through great changes due to digital technologies. From registrations on the walls of pre-historical civilization, we changed to feather, pencil, pen and computer. Together with creation and evolution of music composition programs, the composer started to have a tool which increased the possibilities and facilities of creation. Programs that allow to write music using the computer keyboard, virtual keyboard, or even an electronic musical instrument, to store compound music, insert rules of composition, become an important assistant to the musician while helping him to find new possibilities and create new directions to the musical composition. Digital technologies support the production and distribution of information that cause large impacts in creating and what is created. It is possible, with these technologies, to write and listen what was written by the sound of chosen instruments. Using these tools, a composer can listen the complete work before it has been tested by musicians. This facility allows the composer to amend occasional mistakes and check if the result is according to the expectations, making possible some changes, and even new experiences with the notes and instruments. The objects of this study were some music composition software. The main aim was to elect some software for music composition that can save files in MIDI, MusicXML, PDF, and have a DEMO version. The specific purposes were to present the characteristics of som... (Complete abstract click electronic access below)
Mestre

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DeLuca, Katherine Marie. "Developing a Digital Paideia: Composing Identities and Engaging Rhetorically in the Digital Age." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429521212.

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Waters, Simon. "Electroacoustic music : composition beyond the acousmatic." Thesis, University of East Anglia, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338056.

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Coley, Toby F. "DIGITAL MEDIA ETHICS IN THE WRITING CLASSROOM." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1296093364.

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Pu, Ruonan. "Target-sensitive video segmentation for seamless video composition /." View abstract or full-text, 2007. http://library.ust.hk/cgi/db/thesis.pl?CSED%202007%20PU.

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Walls, Harold D. "Determinations a composition for tenor trombone and digital audio /." Muncie, IN : Ball State University, 2009. http://cardinalscholar.bsu.edu/838.

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Rice, Richard Aaron. "Teaching and learning first-year composition with digital portfolios." Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1239209.

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The purpose of this study was to begin to define and describe some of the complex intersections between teaching and learning first-year composition with digital portfolios, focusing on the construction, presentation, and assessment processes in one first-year composition course at Ball State University. The study employed a qualitative ethnographic methodology with case study, and used grounded theory to develop a resultant guide to code the data collected through several methods: observation, interview, survey, and artifact assessment.The resultant coding guide included the core categories "reflective immediacy," "reflexive hypermediacy," and "active remediation." With the guide findings indicate several effective "common tool" digital portfolio strategies for both teachers and learners. For teachers: introduce the digital portfolio as early in the course as possible; make connections between digital portfolios and personal pedagogical strategies; highlight rhetorical hyperlinking and constructing navigational schemes; emphasize scalability; create a sustainable support system. For learners: consider the instructor's objectives within the framework of the portfolio; synthesize writing process with course content and portfolio construction; include each component of the writing process in the portfolio.
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Thiede, Jacob Ryan. ""Digital Tap Dance": Tap Dance as Medium for Composition." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703288/.

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This dissertation investigates the process of collaboration and the application of both notational and technological schemes to integrate elements of contemporary composition and tap dance as a consolidated art form. Overall, this document gives an overview of choreographer/composer collaborations in Western classical music; movement notation; and ultimately analyzes my original music—a live set for tap dancer, live musicians and electronics—entitled Digital Tap Dance. Altogether, this project represents the culmination of music and dance as a compelling intermedia collaboration. By (1) researching different practices of composer-choreographer collaborations, (2) notating rudiments for tap dance, (3) creating software for tap dancers, and (4) composing original music for tap dancers, this dissertation will create options for composers and choreographers alike in composition and improvisation.

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Vear, Craig. "Composition portfolio : towards intermedia, sound theatre and digital opera." Thesis, University of Salford, 2011. http://usir.salford.ac.uk/26952/.

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This research programme was a practice-led investigation into the interrelationship between composition, digital technology and intermedia performance. Within the first year of this investigation Superfield [Mumbai] (2009) expanded on the intellectual ideas surrounding the notion of a Theatre of Sound and developed Sound Theatre: an experimental intermedia performance concept combining field recordings and live computer music; the mental 'seeing' evoked from sound and a theatre performance environment. One specific element developed through this piece was the collaboration between computer-performer and human-performer, augmenting the composition-performance relationship and leading to the theoretical concepts of wholeness, dimensionality and embeddedness. These ideas were interrogated through The Cape Jeremy Affair (2010), which investigated the meaning of the laptop as an autonomous performer alongside human musicians, and incorporated a 'phenomenology' of listening as it relates to music and performance embodiment. Over a period of many months these concepts were developed and became the core philosophical and theoretical argument of this programme. Each new insight was embedded into the compositional process with questions of phenomenology, performance environment, and audience engagement becoming of primary importance. Towards the end of this investigation it became apparent that this programme might be heading into areas that would traditionally be described as "opera", but without containing any of the elements one might associate with the traditional 'recipe'. The final project X\ Sentimental Journey (2011) addressed this issue, expanded on all the previous concepts, enlarged the ensemble, engaged with networking computer systems and focussed on a Total compositional/ experiential paradigm.

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Lawrence, Daniel William. "On the digital-political topography of music." Thesis, Michigan Technological University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3643826.

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The persuasive power of music is often relegated to the dimension of pathos: that which moves us emotionally. Yet, the music commodity is now situated in and around the liminal spaces of digitality. To think about how music functions, how it argues across media, and how it moves us, we must examine its material and immaterial realities as they present themselves to us and as we so create them. This dissertation rethinks the relationship between rhetoric and music by examining the creation, performance, and distribution of music in its material and immaterial forms to demonstrate its persuasive power. While both Plato and Aristotle understood music as a means to move men toward virtue, Aristotle tells us in his Laws, through the Athenian Stranger, that the very best kinds of music can help guide us to truth. From this starting point, I assess the historical problem of understanding the rhetorical potential of music as merely that which directs or imitates the emotions: that which "Soothes the savage breast," as William Congreve writes. By furthering work by Vickers and Farnsworth, who suggest that the Baroque fascination with applying rhetorical figures to musical figures is an insufficient framework for assessing the rhetorical potential of music, I demonstrate the gravity of musical persuasion in its political weight, in its violence--the subjective violence of musical torture at Guantanamo and the objective, ideological violence of music--and in what Jacques Attali calls the prophetic nature of music. I argue that music has a significant function, and as a non-discursive form of argumentation, works on us beyond affect. Moreover, with the emergence of digital music distribution and domestic digital recording technologies, the digital music commodity in its material and immaterial forms allows for ruptures in the former methods of musical composition, production, and distribution and in the political potential of music which Jacques Attali describes as being able to foresee new political realities. I thus suggest a new theoretical framework for thinking about rhetoric and music by expanding on Lloyd Bitzer's rhetorical situation, by offering the idea of "openings" to the existing exigence, audience, and constraints. The prophetic and rhetorical power of music in the aleatoric moment can help provide openings from which new exigencies can be conceived. We must, therefore, reconsider the role of rhetorical-musical composition for the citizen, not merely as a tool for entertainment or emotional persuasion, but as an arena for engaging with the political.

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Lintelman, Karryn Audra. "Students for Social Change: Activist Literacy and Digital Media." Miami University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=miami1248473294.

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Kelly, Kristy. "Emergent Arguments: Digital Media and Social Argumentation." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22285.

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This dissertation proposes a new framework for understanding how argumentation and rhetorical action unfold in digital space. While studies in the field of rhetorical theory often address new discursive practices in spaces like Twitter and Facebook, they do not always assess the ways that the platforms themselves can influence the forms and conventions of argumentation. Similarly, the field of new media studies has attended to the structural and technical components of digital platforms, but rarely views these details through a rhetorical lens. Thus, this dissertation combines the two disciplines by approaching its thesis from two angles. First, it employs major scholarly and theoretical work from the field of rhetorical studies to determine the ways in which digital rhetorical practices align with or differ from previous ones. Second, it combines new media scholarship with close readings of digital texts, in order to examine how argumentation functions across different media platforms. This interdisciplinary approach provides unique insight into the ways that media platforms and rhetorical practices coevolve. The dissertation’s central term, “emergent arguments,” marks an epistemological shift away from the idea that an argument resides within a single text or narrative. Instead, arguments emerge from sustained and engaged interactions with digital communities, from explorations of hyperlinked trails of information, from patterns of images, words, and datasets. In digital space, knowledge is constructed communally, meaning that argumentation takes place in collaboration with a community. The project follows closely with the work of Aristotle and Perelman and Olbrechts-Tyteca, where argumentation is an inherently social act driven by cultural context and shared knowledge. The dissertation builds upon this premise by claiming that digital media make this sociality visible, traceable, and more dynamic than previous communicative platforms. It ultimately argues that in digital space, meaning itself is social, intertextual, and multimodal.

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Ridgeway, Andrew. "Digital Affect and the Rhetorical Situation After the Las Vegas Shooting." ScholarWorks @ UVM, 2019. https://scholarworks.uvm.edu/graddis/1071.

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Scholars within and beyond the field of rhetoric have acknowledged how the advent of social media platforms like Twitter have restructured every aspect of communication theory, from notions of authorial intent to how we understand audience. While the rhetorical situations of social media have been widely studied, scholars of rhetoric have scarcely begun to theorize how Twitter radically changes how we think about affect and the rhetorical situation in the wake of a national tragedy like a mass shooting. The 2017 Las Vegas shooting illustrates how Twitter functions as a site where people come together to express feelings of shock, grief, and outrage, pray for victims, share stories of bravery, eulogize the dead, circulate outlandish conspiracy theories, assign blame, propagate calls for action, and come to terms with the implications of their own mortality. My research examines hundreds of tweets from October 1-7, 2017 (the week after the Las Vegas shooting) in the context of Lloyd F. Bitzer and Richard E. Vatz’s debate about the nature of the rhetorical situation to interrogate how Twitter users invoke affect and the idea of objectivity to identify and respond to exigencies, establish their emotional and political salience, and shape the rhetorical situations they inhabit.

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Vasilakos, Konstantinos. "An evaluation of digital interfaces for music composition and improvisation." Thesis, Keele University, 2016. http://eprints.keele.ac.uk/1606/.

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This PhD reports research on current representative performance paradigms using various interfaces for real time interaction with computer-based musical environments. Each device was selected to cover a particular range of interfaces. Research covers the following areas: hardware interfaces (tangible & game devices); live coding; optical devices, and hardware prototyping. The projects highlight affordances, comparative strengths and weaknesses, and provide suggestions for further improvements for each paradigm. Particular focus is given to the importance of mapping. Each project comprises corresponding software that was developed to facilitate each performance paradigm. The work is not intended to provide an exhaustive evaluation of the technology used in this research; instead, it aims to examine its feasibility for artistic and musical context. The outcomes of the examinations include a series of musical performances employing improvisation as the basis for composition. These paradigms are examined in a live context as well as fixed media that uses material originating in live performances.

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Krob, Madison. "Up On Digital Hill." Miami University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=miami1627573944283589.

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Cen, Wei. "International students' digital literacy practices and the implications for college ESOL composition classes." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1605279455193093.

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Berezan, David Gerald. "Unheard Voices, Ancient Spaces, an acousmatic composition for eight-channel digital tape and eight loudspeakers (Original composition)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ49704.pdf.

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Kupferberg, Becky Lynn. "The Influence of Digital Multimodal Composition in First-Year Composition: A Moment in the 2015-2016 School Year." University of Findlay / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=findlay1465992849.

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Mazzoleni, Melissa A. K. "Digital and Paper-Based: The Complex Literacies of Composition Students and Instructors." Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1343937313.

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Morris, Janine. "Contexts of Digital Reading: How Genres Affect Reading Practices." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1459243445.

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Atkins, Anthony T. "Digital deficit : literacy, technology, and teacher training in rhetoric and composition programs." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1301627.

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This dissertation addresses three distinct areas of composition: literacy,technology, and teacher training. The research questions I investigate are as follows:Are graduate programs in rhetoric and composition offering preparation for teaching new literacies, especially with digital technology? If so, what is the nature of that training?Does the faculty within a program perceive that training to be effective? Is thattraining perceived to be effective by graduate students?How do individual programs shape their graduate technology training to reflectand manifest specific programmatic agendas and goals?The first two sets of research questions are investigated using survey research methods. The last research question is addressed via case study methods.Using a multi-methodological research design that includes a national survey and two institutional case studies allows me to combine methodologies to draw meaningful conclusions from the data. For example, the survey helps to provide a brief sketch of the state of technology training in rhetoric and composition programs as well as universities, while detailed case studies provide a context that illustrates how the integration of technology into both the university and rhetoric and composition program affects teacher training. The survey demonstrates that many programs do not require courses or workshops that extend special help to those teaching in computer classrooms especially as technology relates to new literacies. Information from the survey also indicates that rhetoric and composition programs have no procedures in place to assess the state of technology training for new teachers and TAs. This dissertation offers one way of assessing technology training.The case studies reveal that the two universities have grand visions and broad technology initiatives. However, a closer look at university mission statements and specific rhetoric and composition programs reveals that the integration of technology is sometimes a less than smooth one. In one case, the department struggles to implement technology at the grass roots level, while another department, despite the inconsistencies apparent at the university level, seems to succeed at both integrating technology and training new teachers to address the new literacies produced by those digital technologies.
Department of English

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Polak, Michele. "Beyond Digital Play: Integrating Girl-Created Subjectivity Into the College Composition Classroom." Miami University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=miami1312391224.

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Emmelhainz, Nicole. "Writing Games: Collaborative Writing in Digital-Ludic Spaces." Case Western Reserve University School of Graduate Studies / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=case1402918660.

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Rosas, Fátima Weber. "Competências para o contexto tecnológico-musical : um foco nas tecnologias digitais online para a educação." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/72127.

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Esta dissertação de Mestrado trata das competências para o contexto tecnológicomusical educacional. Seu objetivo principal é mapeá-las para que professores, tutores e alunos músicos ou leigos utilizem tecnologias digitais voltadas à música, principalmente as gratuitas e baseadas na Web. Esta proposta dirige-se a docentes e discentes da educação presencial e da educação a distância, músicos ou leigos que almejam atuar no âmbito pretendido. Estas tecnologias consistem em recursos tais como objetos de aprendizagem, software para a composição musical cujo funcionamento e armazenamento ocorre através da internet e ferramentas para a edição de áudio. Utilizadas de forma integrada a ambientes virtuais de aprendizagem, essas mesmas ferramentas têm sido aplicadas em cursos de extensão para a formação de professores para o contexto pretendido. No mapeamento das competências apresentado neste estudo também são listados os seus elementos: os conhecimentos, as habilidades e as atitudes para uma atuação eficaz no contexto tecnológico-musical educacional.
This Master's thesis deals with the competences for the technological and musical education context. especially the free Web-based. Its main objective is to map them to teachers, tutors and students musicians and no musicians use digital technologies focused on music, especially free and Web-based. This proposal is aimed at teachers, tutors and students of classroom education and distance who want to act within deprecated. These technologies consist of resources such as learning objects, software for music composition whose operation and storage occurs over the internet. Used in an integrated virtual learning environments, these tools have been applied in extension courses to prepare teachers for the context deprecated. In mapping the competences presented in this study are also listed its elements: knowledge, skills and attitudes for effective action in the technology-musical education.

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Beale, Matthew Carson. "Playing the Writing Game: Gaming the Writing Play." Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/32006.

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My studies consider the application of digital game theory to the instruction of writing in the first year composition classroom. I frame my argument through dialectic of representation and simulation and the cultural shift now in progress from the latter to the former. I first address the history of multimodal composition in the writing classroom, specifically noting the movement from analysis to design. In the third chapter, I examine several primary tenants of video game theory in relation to traditional academic writing, such as the concept of authorship and the importance of a rule system. My final chapter combines the multimodal and digital game theory to create what I term â digital game composition pedagogy.â The last chapter offers new ways to discuss writing and composing through the theories of video games, and shows how video games extend the theories associated with writing to discussions that coincide with an interest that many of our students have outside of the classroom.
Master of Arts

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Paris, Federico Rueben. "Reworking musical strategies in the digital age." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/4775.

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This thesis comprises a portfolio of creative musical work and a written commentary. The creative work seeks to rework musical strategies through technology by challenging aspects of how music is traditionally performed, composed and presented. The portfolio of submitted work is divided into five main projects. The first project is E-tudes, a set of four compositions for live electronics and six keyboard players. The second project is a composition called On Violence, for piano, live electronics, sensors and computer display. The third project is Zizek!?, a computer-mediated-performance for three improvisers that serves as an alternative soundtrack to a documentary about Slovenian philosopher Slavoj Zizek. The fourth project is a collection of small experimental pieces for fixed media called FreuPinta. The fifth project consists of a selection of different improvisations that I devised or participated in using a computer environment I developed for live improvisation. Throughout the portfolio recent technological advancements are considered not for their use in implementing pre-existing models of music-making but rather for their potential to challenge preconceived notions about music. The written commentary gives the theoretical tools necessary to understand the underlying reasoning, preoccupations and concerns behind the submitted work as well as providing supplementary information about the musical results and the computer programmes developed as part of this research.

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Braun, Catherine Colletta. "“I’m really not a technology person”: digital media and the discipline of English." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1141781398.

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Philbrick, Gregory Eric. "Color Relationship Transfer for Digital Painting." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5552.

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A digital painter uses reference photography to add realism to a scene. This involves making n colors in a painting relate to each other more like n corresponding colors in a photograph, in terms of value and temperature. Doing this manually requires either experience or tedious experimentation. Color relationship transfer performs the task automatically, recoloring n regions of a painting so they relate in value and temperature more like n corresponding regions of a photograph. Relationship transfer also has applications in computational photography. In fact, it introduces a new paradigm for image editing in general, based on treating an image's fundamental relationships.

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Carvalho, Tiago José de 1985. "Illumination inconsistency sleuthing for exposing fauxtography and uncovering composition telltales in digital images." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/275519.

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Orientadores: Anderson de Rezende Rocha, Hélio Pedrini
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Computação
Made available in DSpace on 2018-08-25T12:33:40Z (GMT). No. of bitstreams: 1 Carvalho_TiagoJosede_D.pdf: 74759719 bytes, checksum: dc371f3262b700f91afa5e0269df1e05 (MD5) Previous issue date: 2014
Resumo: Antes tomadas como naturalmente genuínas, fotografias não mais podem ser consideradas como sinônimo de verdade. Com os avanços nas técnicas de processamento de imagens e computação gráfica, manipular imagens tornou-se mais fácil do que nunca, permitindo que pessoas sejam capazes de criar novas realidades em minutos. Infelizmente, tais modificações, na maioria das vezes, têm como objetivo enganar os observadores, mudar opiniões ou ainda, afetar como as pessoas enxergam a realidade. Assim, torna-se imprescindível o desenvolvimento de técnicas de detecção de falsificações eficientes e eficazes. De todos os tipos de falsificações de imagens, composições são de especial interesse. Esse tipo de falsificação usa partes de duas ou mais imagens para construir uma nova realidade exibindo para o observador situações que nunca aconteceram. Entre todos os diferentes tipos de pistas investigadas para detecção de composições, as abordagens baseadas em inconsistências de iluminação são consideradas as mais promissoras uma vez que um ajuste perfeito de iluminação em uma imagem falsificada é extremamente difícil de ser alcançado. Neste contexto, esta tese, a qual é fundamentada na hipótese de que inconsistências de iluminação encontradas em uma imagem são fortes evidências de que a mesma é produto de uma composição, apresenta abordagens originais e eficazes para detecção de imagens falsificadas. O primeiro método apresentado explora o reflexo da luz nos olhos para estimar as posições da fonte de luz e do observador da cena. A segunda e a terceira abordagens apresentadas exploram um fenômeno, que ocorre com as cores, denominado metamerismo, o qual descreve o fato de que duas cores podem aparentar similaridade quando iluminadas por uma fonte de luz mas podem parecer totalmente diferentes quando iluminadas por outra fonte de luz. Por fim, nossa última abordagem baseia-se na interação com o usuário que deve inserir normais 3-D em objetos suspeitos da imagem de modo a permitir um cálculo mais preciso da posição 3-D da fonte de luz na imagem. Juntas, essas quatro abordagens trazem importantes contribuições para a comunidade forense e certamente serão uma poderosa ferramenta contra falsificações de imagens
Abstract: Once taken for granted as genuine, photographs are no longer considered as a piece of truth. With the advance of digital image processing and computer graphics techniques, it has been easier than ever to manipulate images and forge new realities within minutes. Unfortunately, most of the times, these modifications seek to deceive viewers, change opinions or even affect how people perceive reality. Therefore, it is paramount to devise and deploy efficient and effective detection techniques. From all types of image forgeries, composition images are specially interesting. This type of forgery uses parts of two or more images to construct a new reality from scenes that never happened. Among all different telltales investigated for detecting image compositions, image-illumination inconsistencies are considered the most promising since a perfect light matching in a forged image is still difficult to achieve. This thesis builds upon the hypothesis that image illumination inconsistencies are strong and powerful evidence of image composition and presents four original and effective approaches to detect image forgeries. The first method explores eye specular highlight telltales to estimate the light source and viewer positions in an image. The second and third approaches explore metamerism, when the colors of two objects may appear to match under one light source but appear completely different under another one. Finally, the last approach relies on user¿s interaction to specify 3-D normals of suspect objects in an image from which the 3-D light source position can be estimated. Together, these approaches bring to the forensic community important contributions which certainly will be a strong tool against image forgeries
Doutorado
Ciência da Computação
Doutor em Ciência da Computação

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Kuzawa, Deborah Marie. "Queering Composition, Queering Archives: Personal Narratives and the Digital Archive of Literacy Narratives." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429704823.

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Johnson, Gavin P. "Queer Possibilities in Digital Media Composing." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu158816717940897.

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Gelms, Bridget. "Volatile Visibility: The Effects of Online Harassment on Feminist Circulation and Public Discourse." Miami University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=miami1524157800257721.

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Zuccolo, Michelle University of Ballarat. "Space : contemplating the voids." University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/12735.

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This research project into the manipulation of spatial concepts by artists on the two-dimensional surface plane, has involved a selected study into cultural and aesthetic evolution from early civilization through to the present era. I have cast a line of inquiry into eastern, western and primitive art practices, observing the journey of chance accelerated by developments in technology. Traditionally artists utilized modes of spatial convention and techniques according to the specific cultural traditions of the time and place of their production. By contrast, contemporary artists know no such boundaries, and are able to select from a range of spatial options relevant both to current forms of expression and to a personal visual language. My own art practice has been enriched and extended, increasing my ability to challenge the notion of still life composition by reversing the traditional hierarchy of form and space through the application of a series of experiments brought about by extensive research into this spatial evolution. The research project has further assisted this development in my art practice by engaging me in a new level of understanding of the topic, informing my perceptions and increasing my ability to translate a combination of forms in space with heightened emotion and personal meaning.
Master of Arts (Visual Arts)

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Zuccolo, Michelle. "Space : contemplating the voids." University of Ballarat, 2006. http://archimedes.ballarat.edu.au:8080/vital/access/HandleResolver/1959.17/16226.

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This research project into the manipulation of spatial concepts by artists on the two-dimensional surface plane, has involved a selected study into cultural and aesthetic evolution from early civilization through to the present era. I have cast a line of inquiry into eastern, western and primitive art practices, observing the journey of chance accelerated by developments in technology. Traditionally artists utilized modes of spatial convention and techniques according to the specific cultural traditions of the time and place of their production. By contrast, contemporary artists know no such boundaries, and are able to select from a range of spatial options relevant both to current forms of expression and to a personal visual language. My own art practice has been enriched and extended, increasing my ability to challenge the notion of still life composition by reversing the traditional hierarchy of form and space through the application of a series of experiments brought about by extensive research into this spatial evolution. The research project has further assisted this development in my art practice by engaging me in a new level of understanding of the topic, informing my perceptions and increasing my ability to translate a combination of forms in space with heightened emotion and personal meaning.
Master of Arts (Visual Arts)

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Nadal, Magnum C. "Real Virtuality| An Examination of Digital Identity and the Ethical Boundaries and Benefits of Appropriation in "Real"| Concerto for Vocaloid." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10785362.

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This paper examines the capabilities of Vocaloid synthesis software as a featured solo instrument in an original composition entitled “Real”: Concerto for Vocaloid, scored for an ensemble of vocalists, chamber orchestra, laptop performers who trigger Vocaloid playback and process electronic audio live, and multimedia elements that include video, staging, and lighting design. This paper discusses the inherent compositional issues of implementing Vocaloid within a concerto and multimedia setting through an examination of identity (reality vs. virtuality), the process of composing a concerto, and methods of creation. “Real”: Concerto for Vocaloid explores appropriation techniques, adaptation of electro-acoustic practices (and the subsequent inheritance of certain styles), and the use of a narrative involving crowd-sourced creativity, hyper-reality, consumerism, and the Vocaloid virtual instrument as a performer and platform.

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Weaver, Beth Nixon. "Interactive text-image conceptual models for literary interpretation and composition in the digital age." Doctoral diss., University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4602.

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This dissertation focuses on text-image conceptual models for literary interpretation and composition in the digital age. The models investigate an interactive blend of textually-based linear-sequential approaches and visually-based spatial-simultaneous approaches. The models employ Gestalt-inspired figure-ground segregation models, along with other theoretical models, that demonstrate the dynamic capabilities of images as conceptual tools as well as alternate forms of text. The models encourage an interpretative style with active participants in open-ended, multi-sensory meaning-making processes. The models use the flexible tools of modern technology as approaches to meaning-making with art strategies used for research strategies as well as a means to appreciate reading and writing in the context of an increasingly visual environment.
ID: 028916553; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (Ph.D.)--University of Central Florida, 2010.; Includes bibliographical references (p. 359-370).
Ph.D.
Doctorate
Department of English
Arts and Humanities

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Dissertations / Theses on the topic 'Digital compositing'

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