Journal articles: 'Digital compositing'

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Zhi, Jin. "Digital Compositing for Moving Images." International Journal of the Arts in Society: Annual Review 3, no. 3 (2008): 11–20. http://dx.doi.org/10.18848/1833-1866/cgp/v03i03/35484.

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Symes, Peter D. "Real-Time Multilevel Digital Compositing: Quality Issues." SMPTE Journal 98, no. 5 (May 1989): 376–78. http://dx.doi.org/10.5594/j02761.

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Symes, Peter D. "Tutorial Paper: Multilevel Compositing in the Digital Domain." SMPTE Journal 97, no. 8 (August 1988): 613–15. http://dx.doi.org/10.5594/j03982.

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Ardiyan, Ardiyan. "Video Tracking dalam Digital Compositing untuk Paska Produksi Video." Humaniora 3, no. 1 (April 30, 2012): 1. http://dx.doi.org/10.21512/humaniora.v3i1.3227.

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Video Tracking is one of the processes in video postproduction and motion picture digitally. The ability of video tracking method in the production is helpful to realize the concept of the visual. It is considered in the process of visual effects making. This paper presents how the tracking process and its benefits in visual needs, especially for video and motion picture production. Some of the things involved in the process of tracking such as failure to do so are made clear in this discussion.

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Lee, Junsang, and Imgeun Lee. "A Study on Correcting Virtual Camera Tracking Data for Digital Compositing." Journal of the Korea Society of Computer and Information 17, no. 11 (November 30, 2012): 39–46. http://dx.doi.org/10.9708/jksci/2012.17.11.039.

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Chernyshov, Dimitri, Garn Morrel, and Ginny Faison. "Real-Time Digital Compositing in Anti-Aliased Text and Graphics Generation." SMPTE Journal 98, no. 7 (July 1989): 512–14. http://dx.doi.org/10.5594/j02716.

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Yoyonefendi, Lusiana, Rometdo Muzawi, Karpen, and Wirta Agustin. "PELATIHAN AFTER EFECTS UNTUK MENINGKATKAN KREATIFITAS SISWA JURUSAN MULTIMEDIA SMK MUHAMMADIYAH 2 PEKANBARU." J-COSCIS : Journal of Computer Science Community Service 2, no. 1 (January 3, 2022): 39–45. http://dx.doi.org/10.31849/jcoscis.v2i1.8387.

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Abstrak: After Effects salah satu software efek digital visual, grafis gerak, dan aplikasi compositing yang dikembangkan oleh Adobe Systems dan digunakan dalam proses pasca produksi pembuatan film dan produksi televisi. After Effects dapat digunakan untuk memasukkan, melacak, rotoscoping, compositing dan animasi. Kegiatan pelatihan ini ditujukan pada siswa –siswi SMK Muhammadiyah 2 Pekanbaru jurusan Multimedia. Siswa diberikan materi dari konsep pengembangan multimedia, pengenalan after effects, pengenalan tool, project opening, animasi teks dan mini kompetisi multimedia. Dengan adanya pelatihan ini akan meningkatkan kreatifitas multimedia untuk menjadi bekal siswa dalam menghadapi magang dan Ujian Keahlian Kompetensi (UKK). Kata Kunci: After Effects, Multimedia, SMK Muhammadiyah 2 Pekanbaru Abstract: After Effects is a digital visual effects software, motion graphics, and compositing application developed by Adobe Systems and used in the post-production process of filmmaking and television production. After Effects can be used for inserting, tracing, rotoscoping, compositing and animation. This training activity is aimed at students of SMK Muhammadiyah 2 Pekanbaru majoring in Multimedia. Students are given material from the concept of multimedia development, introduction to after effects, introduction to tools, project opening, text animation and multimedia mini competition. With this training, it will increase multimedia creativity to equip students to face internships and the Competency Skills Exam (UKK). Keywords: After Effects, Multimedia, SMK Muhammadiyah 2 Pekanbaru

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Lamborelle, B., A. Legault, J. Matey, and T. Mattioli. "Integrating PC-based Editing, Compositing, and Graphics Systems into the Digital Studio." SMPTE Journal 110, no. 6 (June 2001): 372–76. http://dx.doi.org/10.5594/j11605.

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Lefebvre, Martin, and Marc Furstenau. "Digital Editing and Montage: The Vanishing Celluloid and Beyond." Cinémas 13, no. 1-2 (April 26, 2004): 69–107. http://dx.doi.org/10.7202/007957ar.

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Abstract In this essay we consider some of the effects of digital film editing technology on editing. Through an analysis of this technology, as well as DVD technology, we examine the impact these new interfaces have on the film experience. In addition, a study of the effects of compositing—understood here as digital montage par excellence—permits us to dig deeper into its impact on traditional approaches to film style, as well as to question the anxiety stemming from the new technology, given that many critics today argue that digitization has obliterated film’s indexicality.

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Kim, Donghyun, and Minho Kim. "Study of Overlap Block-Layer Compositing Technology in Digital Watermarking and XML Data Encryption." Journal of Security Engineering 11, no. 3 (June 30, 2014): 207–20. http://dx.doi.org/10.14257/jse.2014.06.04.

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Wellington, Michael J., and Luigi J. Renzullo. "High-Dimensional Satellite Image Compositing and Statistics for Enhanced Irrigated Crop Mapping." Remote Sensing 13, no. 7 (March 29, 2021): 1300. http://dx.doi.org/10.3390/rs13071300.

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Accurate irrigated area maps remain difficult to generate, as smallholder irrigation schemes often escape detection. Efforts to map smallholder irrigation have often relied on complex classification models fitted to temporal image stacks. The use of high-dimensional geometric median composites (geomedians) and high-dimensional statistics of time-series may simplify classification models and enhance accuracy. High-dimensional statistics for temporal variation, such as the spectral median absolute deviation, indicate spectral variability within a period contributing to a geomedian. The Ord River Irrigation Area was used to validate Digital Earth Australia’s annual geomedian and temporal variation products. Geomedian composites and the spectral median absolute deviation were then calculated on Sentinel-2 images for three smallholder irrigation schemes in Matabeleland, Zimbabwe, none of which were classified as areas equipped for irrigation in AQUASTAT’s Global Map of Irrigated Areas. Supervised random forest classification was applied to all sites. For the three Matabeleland sites, the average Kappa coefficient was 0.87 and overall accuracy was 95.9% on validation data. This compared with 0.12 and 77.2%, respectively, for the Food and Agriculture Organisation’s Water Productivity through Open access of Remotely sensed derived data (WaPOR) land use classification map. The spectral median absolute deviation was ranked among the most important variables across all models based on mean decrease in accuracy. Change detection capacity also means the spectral median absolute deviation has some advantages for cropland mapping over indices such as the Normalized Difference Vegetation Index. The method demonstrated shows potential to be deployed across countries and regions where smallholder irrigation schemes account for large proportions of irrigated area.

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Goodbody, Tristan, Nicholas Coops, Txomin Hermosilla, Piotr Tompalski, and Gaetan Pelletier. "Vegetation Phenology Driving Error Variation in Digital Aerial Photogrammetrically Derived Terrain Models." Remote Sensing 10, no. 10 (September 27, 2018): 1554. http://dx.doi.org/10.3390/rs10101554.

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Digital aerial photogrammetry (DAP) and unmanned aerial systems (UAS) have emerged as synergistic technologies capable of enhancing forest inventory information. A known limitation of DAP technology is its ability to derive terrain surfaces in areas with moderate to high vegetation coverage. In this study, we sought to investigate the influence of flight acquisition timing on the accuracy and coverage of digital terrain models (DTM) in a low cover forest area in New Brunswick, Canada. To do so, a multi-temporal UAS-acquired DAP data set was used. Acquired imagery was photogrammetrically processed to produce high quality DAP point clouds, from which DTMs were derived. Individual DTMs were evaluated for error using an airborne laser scanning (ALS)-derived DTM as a reference. Unobstructed road areas were used to validate DAP DTM error. Generalized additive mixed models (GAMM) were generated to assess the significance of acquisition timing on mean vegetation cover, DTM error, and proportional DAP coverage. GAMM models for mean vegetation cover and DTM error were found to be significantly influenced by acquisition date. A best available terrain pixel (BATP) compositing exercise was conducted to generate a best possible UAS DAP-derived DTM and outline the importance of flight acquisition timing. The BATP DTM yielded a mean error of −0.01 m. This study helps to show that the timing of DAP acquisitions can influence the accuracy and coverage of DTMs in low cover vegetation areas. These findings provide insight to improve future data set quality and provide a means for managers to cost-effectively derive high accuracy terrain models post-management activity.

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Bhakti, Tatag Lindu, Adhi Susanto, Paulus Insap Santosa, and Diah Tri Widayati. "Design of Automated Moving Stage with Adaptive Focus System to Support Microscopy Image Stitching." Applied Mechanics and Materials 780 (July 2015): 55–68. http://dx.doi.org/10.4028/www.scientific.net/amm.780.55.

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Image stitching is a method to obtain high-resolution images through compositing several image elements using invariant pattern recognizing and matching between each image elements involved. This method can remove resolution restriction in digital microscopy imaging. This study aims to design automated stitching with adaptive focus mechanism to achieve high-quality final stitched image. We attach three-axis microscopic actuator into Olympus CX-21 light microscope. The actuator has been programmed to support image elements capture with adaptive focus ability to compensate focus plane changes due to unevenness object surface, inhomogeneous slide thickness and imperfection of preparation holder. Testing results show automated moving stage has horizontal step resolution 0.198±0.001 μm/step with hysteresis 5.99±1.09 μm and vertical step resolution 0.197±0.004 μm/step with hysteresis 2.36±1.28 μm at maximum speed 3,675μm/sec in 16 sub-division microstep setting value. Automated moving stage has also linear response with R2=0.999. Adaptive focus testing show satisfied optimum objective height locking stability using identical factor ε=95% for every objective application below 100x. Adaptive focus success stabilizes Zopt for every image element to generate final stitched image with homogenous focus value.

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Shenai, Mahesh B., Marcus Dillavou, Corey Shum, Douglas Ross, Richard S. Tubbs, Alan Shih, and Barton L. Guthrie. "Virtual Interactive Presence and Augmented Reality (VIPAR) for Remote Surgical Assistance." Operative Neurosurgery 68, suppl_1 (March 1, 2011): ons200—ons207. http://dx.doi.org/10.1227/neu.0b013e3182077efd.

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Abstract BACKGROUND: Surgery is a highly technical field that combines continuous decision-making with the coordination of spatiovisual tasks. OBJECTIVE: We designed a virtual interactive presence and augmented reality (VIPAR) platform that allows a remote surgeon to deliver real-time virtual assistance to a local surgeon, over a standard Internet connection. METHODS: The VIPAR system consisted of a “local” and a “remote” station, each situated over a surgical field and a blue screen, respectively. Each station was equipped with a digital viewpiece, composed of 2 cameras for stereoscopic capture, and a high-definition viewer displaying a virtual field. The virtual field was created by digitally compositing selected elements within the remote field into the local field. The viewpieces were controlled by workstations mutually connected by the Internet, allowing virtual remote interaction in real time. Digital renderings derived from volumetric MRI were added to the virtual field to augment the surgeon's reality. For demonstration, a fixed-formalin cadaver head and neck were obtained, and a carotid endarterectomy (CEA) and pterional craniotomy were performed under the VIPAR system. RESULTS: The VIPAR system allowed for real-time, virtual interaction between a local (resident) and remote (attending) surgeon. In both carotid and pterional dissections, major anatomic structures were visualized and identified. Virtual interaction permitted remote instruction for the local surgeon, and MRI augmentation provided spatial guidance to both surgeons. Camera resolution, color contrast, time lag, and depth perception were identified as technical issues requiring further optimization. CONCLUSION: Virtual interactive presence and augmented reality provide a novel platform for remote surgical assistance, with multiple applications in surgical training and remote expert assistance.

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Chiu, Shih-Hsuan, Ivan Ivan, Cheng-Lung Wu, Kun-Ting Chen, Sigit Tri Wicaksono, and Hitoshi Takagi. "Mechanical properties of urethane diacrylate/bamboo powder composite fabricated by rapid prototyping system." Rapid Prototyping Journal 22, no. 4 (June 20, 2016): 676–83. http://dx.doi.org/10.1108/rpj-08-2014-0097.

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Purpose Stereolithography is a well-established technique for producing complex part for rapid prototyping purpose by using UV or laser as a source for curing process. This technique has been implemented in a lot of industrial sectors. However, the parts fabricated by this technique exhibit low mechanical and thermal properties hindering a fast-growing application. The purpose of this paper is to propose a new method of digital light rapid prototyping (DLRP) system and investigate the effect of the addition of bamboo fiber with surface modification on improvement of mechanical properties of urethane diacrylate/bamboo composite. Design/methodology/approach Test specimens were fabricated using aliphatic urethane diacrylate photopolymer as matrix material and bamboo fiber as reinforce material. Adhesion between matrix and reinforce materials is a big issue in compositing, especially when handling bamboo as hydrophilic material and urethane diacrylate as hydrophobic material. To overcome this problem, two surface modifications of bamboo fiber, alkali treatment and silane treatment, were implemented. Findings As a result, bamboo fiber can increase mechanical properties of urethane diacrylate photopolymer fabricated by rapid prototyping system. Originality/value In this paper, the authors investigate the effect of the addition of bamboo powder with surface modification on mechanical properties. Test specimens were fabricated using aliphatic urethane diacrylate photopolymer as matrix material and bamboo powder as reinforce material.

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Watson, Ken. "Remote sensing—A geophysical perspective." GEOPHYSICS 50, no. 12 (December 1985): 2595–610. http://dx.doi.org/10.1190/1.1441885.

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In this review of developments in the field of remote sensing from a geophysical perspective, the subject is limited to the electromagnetic spectrum from 0.4 μm to 25 cm. Three broad energy categories are covered: solar reflected, thermal infrared, and microwave. The reflected solar region has been the most intensely studied. Photointerpretation of images from individual spectral bands or from color composites remains the most widely used method of analysis. New instrumentation and digital processing, based on analysis of laboratory and field spectra, provide significant advances that are beginning to be applied to resource exploration. Color compositing techniques have been effectively used to detect the characteristic spectral reflectance features of iron oxides and hydroxyl‐bearing materials in satellite multispectral data for mapping areas of hydrothermal alteration. Airborne spectrometers can now detect individual spectral features of many minerals which are diagnostic of different stages of hydrothermal alteration. Evolution was from discrimination, based on empirical experience, to mineralogic identification and leading to quantification. Current developments also indicate new, promising extensions to vegetated terrains. Advances in thermal infrared studies are due to development of thermal models that permit mapping of physical property variations and to detection of spectral differences that provide important compositional information. Analysis techniques are still in their infancy, and thermal satellite data remain appropriate only for regional investigations. Microwave data have been acquired mainly with radar systems, which can provide very high resolution from space, but use of textural and slope information has had limited application. Long‐wavelength radiation has been shown to penetrate dry materials, and this may be applicable in extremely arid regions.

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Bode, Lisa. "Deepfaking Keanu: YouTube deepfakes, platform visual effects, and the complexity of reception." Convergence: The International Journal of Research into New Media Technologies 27, no. 4 (July 21, 2021): 919–34. http://dx.doi.org/10.1177/13548565211030454.

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On July 14, 2019, a 3-minute 36-second video titled “Keanu Reeves Stops A ROBBERY!” was released on YouTube visual effects (VFX) channel, Corridor. The video’s click-bait title ensured it was quickly shared by users across platforms such as Facebook, Twitter, and Reddit. Comments on the video suggest that the vast majority of viewers categorised it as fiction. What seemed less universally recognised, though, was that the performer in the clip was not Keanu Reeves himself. It was voice actor and stuntman Reuben Langdon, and his face was digitally replaced with that of Reeves, through the use of an AI generated deepfake, an open access application, Faceswap, and compositing in Adobe After Effects. This article uses Corridor’s deepfake Keanu video (hereafter shorted to CDFK) as a case study which allows the fleshing out of an, as yet, under-researched area of deepfakes: the role of framing contexts in shaping how viewers evaluate, categorise, make sense of and discuss these images. This research draws on visual effects scholarship, celebrity studies, cognitive film studies, social media theory, digital rhetoric, and discourse analysis. It is intended to serve as a starting point of a larger study that will eventually map types of online manipulated media creation on a continuum from the professional to the vernacular, across different platforms, and attending to their aesthetic, ethical, cultural and reception dimensions. The focus on context (platform, creator channel, and comments) also reveals the emergence of an industrial and aesthetic category of visual effects, which I call here “platform VFX,” a key term that provides us with more nuanced frames for illuminating and analysing a range of manipulated media practices as VFX software becomes ever more accessible and lends itself to more vernacular uses, such as we see with various face swap apps.

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Pennell, Michael. "Digital Literacies and Composition Studies." Literacy in Composition Studies 1, no. 2 (October 15, 2013): 74–76. http://dx.doi.org/10.21623/1.1.2.6.

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Hewett, Beth L. "Reading, writing, and digital composition." Communication Design Quarterly 4, no. 4 (March 27, 2017): 20–35. http://dx.doi.org/10.1145/3071088.3071091.

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Akbarov, Davlatali Egitaliyevich, and Shukhratjon Azizjonovich Umarov. "Algorithm Of The Electronic Digital Subscript On The Basis Of The Composition Of Computing Complexities." American Journal of Engineering And Techonology 03, no. 04 (April 30, 2021): 102–7. http://dx.doi.org/10.37547/tajet/volume03issue04-16.

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In article the new algorithm of a digital signature in composition of the existing difficulties is developed: discrete logarithming in a final field, decomposition of rather large natural number on simple multipliers, additions of points with rational coordinates of an elliptic curve. On the basis of a combination of difficulties of discrete logarithming on a final field with the characteristic of large number, decomposition of rather large odd number on simple multipliers and additions of points of an elliptic curve develops algorithm of a digital signature for formation. The conventional scheme (model) of a digital signature covers three processes: generation of keys of EDS; formation of EDS; check (authenticity confirmation) of EDS. The idea of a design of the offered algorithm allows modifying and increasing crypto stability with addition to other computing difficulties. It is intended for use in systems of information processing of different function during forming and confirmation of authenticity of digital signature.

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Álvarez Rodríguez, Víctor. "The digital transmedia narrative composition of the storytelling of Lost." Doxa Comunicación. Revista interdisciplinar de estudios de comunicación y ciencias sociales, no. 29 (December 2019): 97–111. http://dx.doi.org/10.31921/doxacom.n29a5.

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Analysing the transmedia narrative through the virtual environment means recognizing the communication model used by television fiction today and the behaviour of its audience. Thanks to the development of digital media, numerous audio-visual productions have addressed these platforms to transmit and expand their narrative. The pioneering production in this field is the fantasy genre series Lost (2004-2010). Therefore, this research proposes a methodology of analysis of the narrative discourse of three transmedia works in order to identify and study their repercussions in the final narrative of the work. In particular, the digital transmedia construction of the story is analysed in short films, ARGs and videogames. All of this in search of the recognition of a single common narrative formed thanks to different media and languages. Likewise, the connection and dedication of the community of followers of the series with these proposals will also be explored.

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Bellanova, Rocco, and Gloria González Fuster. "Composting and computing: On digital security compositions." European Journal of International Security 4, no. 3 (September 26, 2019): 345–65. http://dx.doi.org/10.1017/eis.2019.18.

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AbstractMaking sense of digital security practice requires grasping how data are put to use to compose the governing of individuals. Data need to be understood in their becoming, and in their becoming something across diverse practices. To do this, we suggest embracing two conceptual tropes that jointly articulate the being together of, and in, data compositions: composting and computing. With composting, we approach data as lively entities, and we explore the decaying and recycling processes inside Big Data security. With computing, we approach data as embodied and embodying elements, and we unpack the surveillance of ‘asylum speakers’. Together, composting and computing challenge recurrent images of data. Our conceptual composition takes sound as a necessary sensory counterpoint to popular data visions, notably in light of Ryoji Ikeda's artworks.

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Kaufhold, Julia, Johannes Kohl, Venkatesh Naidu Nerella, Christof Schroefl, Christoph Wenderdel, Paul Blankenstein, and Viktor Mechtcherine. "Wood-based support material for extrusion-based digital construction." Rapid Prototyping Journal 25, no. 4 (May 13, 2019): 690–98. http://dx.doi.org/10.1108/rpj-04-2018-0109.

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Purpose Extrusion-based digital construction (DC) approaches make it feasible to overcome constraints of conventional construction, namely, high formwork costs, long total construction times, low productivity and geometrical inflexibility. However, to date, no satisfactory solutions for extruding strongly inclined and horizontal elements are available. A wood-starch-composite has been systematically developed as a sustainable support material (SM) for extrusion-based DC. Design/methodology/approach Material and process-specific requirements were identified for this purpose, and a feasible process chain was developed. A parametric study was conducted to determine the influence of SM composition on its extrusion feasibility and compressive strength. Various compositions with two starch types and two wood particle shapes were tested. New, specific testing methods were developed. Selected compositions were tested using a 3D-printing device to verify extrudability and form stability. Findings Relationships between material compositions of SM and its rheological and mechanical properties were identified. All mixtures showed sufficient compressive strength in respect of the loading conditions analysed. However, their flow properties varied significantly. A mixture of native maize starch and wood floor was identified as the best variant (compressive strength 2.3 MPa). Research limitations/implications Comprehensive investigations of possible process chains, as well as full-scale demonstration and optimisation of the process parameters, were not in the scope of this paper. Such investigations are intended in further studies. Practical implications The general applicability of wood-based SM for DC with cement-based construction materials was proved. Originality/value The findings offer a novel and promising solution for 3D-printing of non-vertical concrete elements. Experimental setup and material compositions are detailed to ensure reproducibility.

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Zhu, Dong. "The Composition of Digital Wushu Instruction Court." Advanced Materials Research 271-273 (July 2011): 423–27. http://dx.doi.org/10.4028/www.scientific.net/amr.271-273.423.

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Hard to learn and easy to forget are real problems in Wushu practice. Digital Wushu instruction court as the computer assisted technology increases alternative teaching method in Wushu teaching activities. Digital Wushu instruction court includes hardware system and software system. Hard ware is mainly composed by digital floor, digital periphery, digital terminal and communication platform. Software includes picture, video, music, text, motion analysis system and so on. The purpose of digital Wushu instruction court is to cultivate students’ interests to Wushu, increase Wushu instruction effect, and develop their self-learning ability.

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Prada, Josh. "Approaching Composition as Showing–Telling through Translanguaging: Weaving Multilingualism, Multimodality, and Multiliteracies in a Digital Collage Proyecto Final." Languages 7, no. 1 (March 21, 2022): 70. http://dx.doi.org/10.3390/languages7010070.

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Couched in theories of translanguaging, multimodality, and multiliteracies, this article explores digital compositions (i.e., digital collages) as spaces for identity representation through the proyectos finales produced by 22 students in a Spanish composition class for heritage/native speakers in a U.S. university. Each digital collage was accompanied by two written documents: one describing the processes leading to its creation, and another one explaining the meaning of the collage and its components. Qualitative content analysis was used to investigate the submissions, with particular attention paid to instances of identity, experience, and self-representation through complex orchestrations of flexible multilingual and multimodal meaning- and sense-making. The proyecto final is discussed in terms of the curricular innovation for courses designed for racialized language-minoritized multilingual students, describing the nature and affordances of translanguaging in this context, and advancing an approach to digital composing as showing–telling.

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Handa, Carolyn. "Letter from the guest editor: digital rhetoric, digital literacy, computers, and composition." Computers and Composition 18, no. 1 (January 2001): 1–10. http://dx.doi.org/10.1016/s8755-4615(00)00043-8.

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Studley, Thomas, Jon Drummond, Nathan Scott, and Keith Nesbitt. "Evaluating Digital Games for Competitive Music Composition." Organised Sound 25, no. 1 (March 4, 2020): 75–88. http://dx.doi.org/10.1017/s1355771819000487.

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Digital games are a fertile ground for exploring novel computer music applications. While the lineage of game-based compositional praxis long precedes the advent of digital computers, it flourishes now in a rich landscape of music-making apps, sound toys and playful installations that provide access to music creation through game-like interaction. Characterising these systems is the pervasive avoidance of a competitive game framework, reflecting an underlying assumption that notions of conflict and challenge are somewhat antithetical to musical creativity. As a result, the interplay between competitive gameplay and musical creativity is seldom explored. This article reports on a comparative user evaluation of two original games that frame interactive music composition as a human–computer competition. The games employ contrasting designs so that their juxtaposition can address the following research question: how are player perceptions of musical creativity shaped in competitive game environments? Significant differences were found in system usability, and also creativity and ownership of musical outcomes. The user study indicates that a high degree of musical control is widely preferred despite an apparent cost to general usability. It further reveals that players have diverse criteria for ‘games’ which can dramatically influence their perceptions of musical creativity, control and ownership. These findings offer new insights for the design of future game-based composition systems, and reflect more broadly on the complex relationship between musical creativity, games and competition.

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Brummer, Ludger. "Using a Digital Synthesis Language in Composition." Computer Music Journal 18, no. 4 (1994): 35. http://dx.doi.org/10.2307/3681356.

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Cornford, Stephen. "Digital Economy Action: Composition by Participatory Piracy." Leonardo Music Journal 21 (December 2011): 9–10. http://dx.doi.org/10.1162/lmj_a_00051.

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The author discusses the inspiration and design of an as-yet-unrealized composition in which participants serve in the roles of composer, performer and consumer all at the same time. Provoked by the passage of a law restricting sharing and distribution of music files, he explores the potential for file sharing as a compositional process.

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Mills, Kathy A., Bessie G. Stone, Len Unsworth, and Lesley Friend. "Multimodal Language of Attitude in Digital Composition." Written Communication 37, no. 2 (January 6, 2020): 135–66. http://dx.doi.org/10.1177/0741088319897978.

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Communication using popular digital media involves understanding multimodal systems of appraisal for expressing attitude, which traditionally deals with emotions, ethics, and aesthetics in language. The formulation and teaching of multimodal grammars for attitudinal meanings in popular texts and culture is currently underresearched. This article reports findings from multisite qualitative research that developed students’ ability to use semiotic resources for communicating attitude multimodally. The research participants were 68 students (ages 9–11 years) from two elementary schools. Students learned how to use attitudinal language—affect, judgment, and appreciation—and applied this knowledge to multimodal design. The findings advance a leading system of appraisal for discourse by adapting the system to the multimodal communication of attitude in digital comic making in schooling. The research is significant because it demonstrates the potentials for augmenting students’ linguistic and visual semiotic resources to convey multimodal attitudinal meanings in contemporary communication.

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Suarez, I., M. Condé, L. Bouscayrol, C. Fontaine, and G. Almuneau. "Structure-induced effects on the selective wet thermal oxidation of digital AlxGa1–xAs alloys." Journal of Materials Research 23, no. 11 (November 2008): 3006–12. http://dx.doi.org/10.1557/jmr.2008.0360.

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A thorough study of the selective wet oxidation in digital AlxGa1–xAs alloys is presented. We report experimental results and physical interpretation on the oxidation kinetics within those ranges of the AlGaAs composition (x = 0.95 to 1) and layer thickness (20 to 50 nm) of interest for oxide-aperture vertical-cavity surface-emitting laser (VCSEL) application. We demonstrate the high controllability of the oxidation reaction between different Al compositions; made different thanks to the use of digital alloys. Unlike standard alloys, we measured an invariability of the oxidation rates in the studied thickness range (20–50 nm), implying a better control of the fabrication process. The dependence of the reaction rate with the temperature is expressed as an Arrhenius law. Two activation energies (1.2 and 0.55 eV) have been derived for composition ranges of x = 0.95–0.98 and x = 0.99–1, respectively, revealing that two different mechanisms are involved depending on the Al content and the superlattice structure of the digitally-grown AlGaAs.

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Shabatura, Yuriy, Maryna Mikhalieva, Sergij Korolko, Liubomyra Odosii, Oleksiy Kuznietsov, and Vasyl Smychok. "Autonomous Cyberphysical System of Controlled Treatment and Water Composition Control." Advances in Cyber-Physical Systems 5, no. 1 (November 28, 2017): 23–29. http://dx.doi.org/10.23939/acps2020.01.023.

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An autonomous cyberphysical adaptive system of controlled purification and control of water composition has been considered. Theoretical analysis and experimental studies of the functioning of the components of the proposed system of controlled purification and control of water composition has been performed. The proposed installation is designed to implement the technology of self-regulating system. When using intelligent digital means, it becomes an autonomous cyberphysical adaptive system of controlled purification and control of water composition.

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Sridevi S., Karpagam G. R., Vinoth Kumar B., and Uma Maheswari J. "Investigation on Blockchain Technology for Web Service Composition." International Journal of Web Services Research 18, no. 1 (January 2021): 1–23. http://dx.doi.org/10.4018/ijwsr.20210101.oa1.

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The blockchain is an incorruptible digital ledger of economic transactions that can be programmed to record not just financial transactions but virtually everything of value. Blockchain technology makes breakthroughs in business intelligence in many areas such as banking sector, finance, judiciary, commerce, and information technology. Web service compositions have a revolutionary impact on business intelligence by enabling loose coupling, data consolidation from diverse sources, consolidation of information under a single roof, easing ad-hoc querying and reporting. The objective of current work is to investigate the applicability of blockchain for the semantic web service composition process. The paper focuses on design of conceptual architecture and the algorithm for QoS-aware semantic web service composition (SWSC) using blockchain.

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Chisholm, James S., and Brandie Trent. "Digital Storytelling in a Place-Based Composition Course." Journal of Adolescent & Adult Literacy 57, no. 4 (December 2013): 307–18. http://dx.doi.org/10.1002/jaal.244.

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Hafner, Christoph A. "Digital Composition in a Second or Foreign Language." TESOL Quarterly 47, no. 4 (September 3, 2013): 830–34. http://dx.doi.org/10.1002/tesq.135.

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Fritz, I. J., L. R. Dawson, J. A. Olsen, and A. J. Howard. "Graded‐composition buffer layers using digital AlGaAsSb alloys." Applied Physics Letters 67, no. 16 (October 16, 1995): 2320–22. http://dx.doi.org/10.1063/1.114331.

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Schmidt, Nicole. "Digital Multimodal Composition and Second Language Teacher Knowledge." TESL Canada Journal 36, no. 3 (December 30, 2019): 1–30. http://dx.doi.org/10.18806/tesl.v36i3.1319.

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Before second language writing (SLW) teachers’ digital practices can be supported, their needs must first be understood. To accomplish effective technology-enhanced instruction, SLW teachers must blend their knowledge of composition theory, second language acquisition, and multimodal composition technologies. However, many teachers struggle to do this, which highlights the need for research addressing the cognitive aspects that influence digital instruction. This case study reports on an investigation of three in-service university SLW teachers’ Technological Pedagogical Content Knowledge (TPACK) during a digital reflective portfolio module. Data from an online survey, instructional content, classroom observations, and semistructured interviews were triangulated to uncover the nature of SLW teachers’ TPACK, including which factors supported and constrained their use of technology. Findings suggest that pedagogical content knowledge played a dominant role in how the teachers used technology. The teachers’ TPACK was enhanced by professional beliefs about the importance of multimodality and contextual factors involving institutional support and communities of practice. However, it was constrained by limited self-efficacy and pedagogical beliefs concerning the influence of technology on student learning and student engagement. This study contributes to a growing body of research on how to support language teachers in their digitally mediated practices. Avant de pouvoir soutenir les pratiques numériques des enseignantes et enseignants d’expression écrite en langue seconde (SLW), il faut commencer par en comprendre les besoins. Pour être à même de dispenser efficacement un enseignement enrichi par la technologie, les enseignantes et enseignants d’expression écrite en langue seconde doivent amalgamer leurs connaissances dans les domaines de la théorie de la composition, de l’acquisition d’une langue seconde et des technologies de composition multimodale. Beaucoup d’enseignantes et d’enseignants, toutefois, arrivent mal à le faire, ce qui souligne le besoin de recherches sur les facteurs cognitifs qui ont une incidence sur l’enseignement numérique. La présente étude de cas fait état de recherches menées auprès de trois enseignants (un homme et deux femmes) d’expression écrite en langue seconde en cours de service au niveau universitaire dans le cadre TPACK (Technological Pedagogical Content Knowledge). Des données issues d’un sondage en ligne, un contenu pédagogique, des observations faites en salle de classe et des entrevues semi-structurées ont été triangulés pour lever le voile sur la nature des connaissances des enseignantes et enseignants d’expression écrite en langue seconde dans le cadre TPACK, y compris la question de savoir quels facteurs soutiennent ou restreignent leur recours à la technologie. Les constatations suggèrent que la connaissance du contenu pédagogique joue un rôle prépondérant dans la façon dont les enseignantes et enseignants utilisent la technologie. Leurs connaissances sont par ailleurs renforcées par des convictions professionnelles concernant l’importance de l’intermodalité ainsi que par des facteurs contextuels impliquant le soutien institutionnel et les communautés de pratique. Elles se sont toutefois avérées limitées par l’auto-efficacité réduite des enseignantes et enseignants et leurs croyances pédagogiques relativement à l’influence de la technologie sur l’apprentissage et l’engagement des étudiantes et étudiants. Cette étude s’ajoute à un corpus croissant de recherches sur la façon de soutenir les professeurs de langue dans leurs pratiques numériques.

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Жеслин, Вера. "Digital Interactivity: A New Impetus for Musical Composition?" Музыкальная академия, no. 1(774) (June 24, 2021): 154–67. http://dx.doi.org/10.34690/155.

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Цель данной статьи - рассмотреть, как особенности нарастающей технической среды могут спровоцировать сдвиг ориентиров в современном композиторском мышлении. Автор соотносит традиционное музыковедение с другими научными сферами, делая акцент на некоторых философско-антропологических тезисах о «диалоге» человека с собственными изобретениями. Объектом исследования послужила совместная работа специалиста в сфере музыкальной информатики Кристофа Лебретона и исполнителя на ударных инструментах Жана Жоффруа над проектами двух авторов: Тьерри Де Мея и Винсента Рафаэля Каринолы. Таким образом, две последние части статьи посвящены ключевым феноменам, относящимся к сочинительскому процессу анализируемых произведений: интерактивность и работа с жестом с помощью цифровых инструментов. The purpose of this article is to consider how the peculiarities of the growing technical environment can provoke any movement in modern composer thinking. The author correlates traditional musicology with other scientific spheres, focusing on some philosophical and anthropological theses about a human's “dialogue” with his own inventions. The object of the research became the common work of a specialist in the field of music informatics Christophe Lebreton and a percussionist Jean Geoffroy on projects by two authors: Thierry De Mey and Vincent-Rapha4l Carinola. Thus, the last two parts of the paper are devoted to the key phenomena in their composition process: interactivity and work with gesture while using digital instruments.

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Vasiljanovna, Eldasheva Gulnoza. "Digital competence of the future teacher: Component composition." ACADEMICIA: An International Multidisciplinary Research Journal 11, no. 6 (2021): 330–37. http://dx.doi.org/10.5958/2249-7137.2021.01622.0.

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Sanchez Barrioluengo, Mabel. "Job Composition and Digital Technologies: Its Effect on UK Firms in the Digital Era." Academy of Management Proceedings 2020, no. 1 (August 2020): 16660. http://dx.doi.org/10.5465/ambpp.2020.16660abstract.

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Markin, Nerella, Schröfl, Guseynova, and Mechtcherine. "Material Design and Performance Evaluation of Foam Concrete for Digital Fabrication." Materials 12, no. 15 (July 30, 2019): 2433. http://dx.doi.org/10.3390/ma12152433.

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Three-dimensional (3D) printing with foam concrete, which is known for its distinct physical and mechanical properties, has not yet been purposefully investigated. The article at hand presents a methodological approach for the mixture design of 3D-printable foam concretes and a systematic investigation of the potential application of this type of material in digital construction. Three different foam concrete compositions with water-to-binder ratios between 0.33–0.36 and densities of 1100 to 1580 kg/m³ in the fresh state were produced with a prefoaming technique using a protein-based foaming agent. Based on the fresh-state tests, including 3D printing as such, an optimum composition was identified, and its compressive and flexural strengths were characterized. The printable foam concrete showed low thermal conductivity and relatively high compressive strengths of above 10 MPa; therefore, it fulfilled the requirements for building materials used for load-bearing wall elements in multi-story houses. Thus, it is suitable for 3D-printing applications, while fulfilling both load-carrying and insulating functions.

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Trueman, Dan, and Michael Mulshine. "Preparing the Digital Piano: Introducing bitKlavier." Computer Music Journal 43, no. 2-3 (June 2020): 48–66. http://dx.doi.org/10.1162/comj_a_00518.

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This article describes a new kind of digital musical instrument, a novel assemblage of the familiar MIDI keyboard with custom interactive software. Inspired by John Cage's prepared piano, our instrument both takes advantage of and subverts the pianist's hard-earned, embodied training, while also inviting an extended configuration stage that “prepares” the instrument to behave in composition-specific, idiosyncratic ways. Through its flexible—though constrained—design, the instrument aims to inspire a playful approach to instrument building, composition, and performance. We outline the development history of our instrument, called bitKlavier, its current design, and some of its musical possibilities.

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Fraser, Benjamin T., and Russell G. Congalton. "A Comparison of Methods for Determining Forest Composition from High-Spatial-Resolution Remotely Sensed Imagery." Forests 12, no. 9 (September 21, 2021): 1290. http://dx.doi.org/10.3390/f12091290.

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Remotely sensed imagery has been used to support forest ecology and management for decades. In modern times, the propagation of high-spatial-resolution image analysis techniques and automated workflows have further strengthened this synergy, leading to the inquiry into more complex, local-scale, ecosystem characteristics. To appropriately inform decisions in forestry ecology and management, the most reliable and efficient methods should be adopted. For this reason, our research compares visual interpretation to digital (automated) processing for forest plot composition and individual tree identification. During this investigation, we qualitatively and quantitatively evaluated the process of classifying species groups within complex, mixed-species forests in New England. This analysis included a comparison of three high-resolution remotely sensed imagery sources: Google Earth, National Agriculture Imagery Program (NAIP) imagery, and unmanned aerial system (UAS) imagery. We discovered that, although the level of detail afforded by the UAS imagery spatial resolution (3.02 cm average pixel size) improved the visual interpretation results (7.87–9.59%), the highest thematic accuracy was still only 54.44% for the generalized composition groups. Our qualitative analysis of the uncertainty for visually interpreting different composition classes revealed the persistence of mislabeled hardwood compositions (including an early successional class) and an inability to consistently differentiate between ‘pure’ and ‘mixed’ stands. The results of digitally classifying the same forest compositions produced a higher level of accuracy for both detecting individual trees (93.9%) and labeling them (59.62–70.48%) using machine learning algorithms including classification and regression trees, random forest, and support vector machines. These results indicate that digital, automated, classification produced an increase in overall accuracy of 16.04% over visual interpretation for generalized forest composition classes. Other studies, which incorporate multitemporal, multispectral, or data fusion approaches provide evidence for further widening this gap. Further refinement of the methods for individual tree detection, delineation, and classification should be developed for structurally and compositionally complex forests to supplement the critical deficiency in local-scale forest information around the world.

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Moseley, Roger. "Digital Analogies:." Journal of the American Musicological Society 68, no. 1 (2015): 151–228. http://dx.doi.org/10.1525/jams.2015.68.1.151.

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Relating evidence from the mythological to the contemporary in both historical and media-archaeological registers, this article explores how techniques of sonic generation and representation shuttled between what might be defined as digital and analog domains long before the terms acquired their present meanings—and became locked in a binary opposition—over the latter half of the twentieth century. It proposes that such techniques be conceptualized via the “digital analogy,” a critical strategy that accounts for the nesting of techno-musical configurations. While the scope of digital analogies is expansive, the focus here falls on a particular interface and mode of engagement. The interface is the keyboard; the mode of engagement is the play, both ludic and musical, that the keyboard affords. Operations at the keyboard have been integral to ludic communication and computation as well as to the practices of composition, performance, and improvisation. To map out this genealogy and to show how it continues to inform loci of musical play from sound art to digital games, the article draws on an array of critical and theoretical texts including Friedrich Kittler’s media analyses, Vilém Flusser’s writings on technology, and post-Foucauldian discourses on cultural techniques.

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Decuypere, Mathias, and Maarten Simons. "On the Composition of Academic Work in Digital Times." European Educational Research Journal 13, no. 1 (January 2014): 89–106. http://dx.doi.org/10.2304/eerj.2014.13.1.89.

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Hong Mei. "Composition Performance Characteristics of the Digital CG Painting Art." International Journal of Advancements in Computing Technology 5, no. 2 (January 31, 2013): 554–62. http://dx.doi.org/10.4156/ijact.vol5.issue2.69.

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Mac Donaill, D. A. "Digital parity and the composition of the nucleotide alphabet." IEEE Engineering in Medicine and Biology Magazine 25, no. 1 (January 2006): 54–61. http://dx.doi.org/10.1109/memb.2006.1578664.

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Park, Kwang-Hyeon, and Yong-Won Seo. "The design of digital circuit for chaotic composition map." Journal of Korea Navigation Institute 17, no. 6 (December 30, 2013): 652–57. http://dx.doi.org/10.12673/jkoni.2013.17.6.652.

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Seo, Soohyun, and Hyounjin Ok. "Expert Survey on the Composition of Digital Literacy Content." Korean Language Education 170 (August 31, 2020): 203–31. http://dx.doi.org/10.29401/kle.170.6.

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O’Dell, Kaylin. "Modern Marginalia: Using Digital Annotation in the Composition Classroom." Computers and Composition 56 (June 2020): 102570. http://dx.doi.org/10.1016/j.compcom.2020.102570.

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Journal articles on the topic 'Digital compositing'

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