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Journal articles on the topic 'Experimental films Video art'
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1
Maron, Marcin. "Filmowa neoawangarda i początki sztuki video." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 15, no. 2 (September 19, 2018): 37. http://dx.doi.org/10.17951/l.2017.15.2.37.
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<p>Artykuł w syntetyczny sposób omawia najważniejsze zjawiska filmu eksperymentalnego w kontekście pojęcia i praktyki sztuki neoawangardowej od II połowy lat 60. do połowy lat 70. XX wieku. Na początku przypomniana została pierwsza i druga faza rozwoju filmu eksperymentalnego w związku z istnieniem tzw. Wielkiej Awangardy oraz z działalnością jej kontynuatorów po Ii wojnie światowej w USA. Nastepnie zdefiniowane zostało pojęcie neoawangardy w odniesieniu do ujęcia, które zparoponował Frank Popper. W dalszej części artykułu jego autor omawia zasady oraz najważniejsze przykłady filmów neoawangardowych m. in: film strukturalny, kino porzeszone, intermedia. Ważną częścią artykułu jest przedstawienie początków, idei oraz najważniejszych rodzajów sztuki video. W artykule omówione zostały filmy takich autorów jak m. in. Paul Sharits, Peter Kubelka, Peter Campus, Bill Viola i innych.</p><p> </p><strong>Film Neo-Avant-garde and the Beginnings of Video Art</strong><p>SUMMARY</p><p>The article comprehensively discusses the most important phenomena of experimental film in the context of the concept and practice of neo-avant-garde art from the latter half of the nineteen-sixties to the mid-nineteen-seventies. The paper begins by referring to the first and second phase of the development of experimental film in connection with the existence of the so-called Great Avant-garde and the activity of its continuators after World War Two in the USA. The text then defines the concept of neo-avant-garde in relation to the interpretation proposed by Frank Popper. The article then discusses the principles and the most important examples of neo-avant-garde films, inter alia structural film, widened cinema, or intermedia. An important part of the article is the presentation of the beginnings, idea and the major types of video art. The paper also discusses the films by such authors as inter alia Paul Sharits, Peter Kubelka, Peter Campus, Bill Viola, and others.</p>
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Ranker, Jason. "The sliding of the signified: multimodal sign operations in a youth-created experimental digital video." Visual Communication 17, no. 3 (March 23, 2018): 337–62. http://dx.doi.org/10.1177/1470357218763333.
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In this article, the author presents a multimodal discourse analysis of a digital video composed by five students (ages 11–12) in an urban, public-school classroom. The focal mockumentary video is distinctive in that it is difficult to interpret and has an artistic quality that turns the process of meaning-making back on itself, resisting the very idea of a single, determinable meaning. He examines this phenomenon as the sliding of the signified in the students’ video (as multimodal discourse), focusing on the ways in which the students tapped into discursive agencies that rupture meaning-making. In particular, he analyzes how visual and spoken signifiers are related or coordinated with one another across the film in the creation of multimodal discursive effects such as floating signifiers, networks of metonymic potential, and signifier condensation complexes. This study thus offers conceptualizations of multimodal discursive units that can be used to interpret and analyze the interactions of visual and spoken signifiers in films and digital videos.
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Misek, Richard. "Trespassing Hollywood: Property, Space, and the “Appropriation Film”." October 153 (July 2015): 132–48. http://dx.doi.org/10.1162/octo_a_00230.
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In the two decades since the first exhibition of Douglas Gordon's 24 Hour Psycho (1993), “appropriation”—a mainstay of visual art since the mid-twentieth century—has also become a mainstay of experimental filmmaking and artists' film and video. Montages, collages, found-footage documentaries, essay films, and diverse other works made from pre-existing moving images now feature regularly at film festivals, in museum cinematheques, and in art galleries. Yet beyond the protective walls of these cultural institutions, a global copyright war is raging. Over recent years, media owners have become ever more assertive of their intellectual property rights, while activists have become ever bolder in their demands for radical open access. How have film and video artists responded to these differing views about what constitutes our cultural commons? This article explores the question by focusing on two test cases: Thom Andersen's essay film Los Angeles Plays Itself (2003) and Christian Marclay's video collage The Clock (2011). Both involve unlicensed reuse of pre-existing film and television material. However, in their overall conception, methods of production, and distribution and exhibition, Andersen's and Marclay's works provide opposing models for how to engage with media property. The article concludes by suggesting that the two works' differences raise urgent ethical question about how (and where) contemporary artists' film and video is exhibited.
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Søilen, Karen Louise Grova. "Safe is a Wonderful Feeling: Atmospheres of Surveillance and Contemporary Art." Surveillance & Society 18, no. 2 (June 16, 2020): 170–84. http://dx.doi.org/10.24908/ss.v18i2.12756.
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This paper examines how the combined prism of contemporary art and the notion of atmosphere may offer alternative perspectives on our encounters with places and practices of surveillance. Specifically, this article investigates the atmospheres of surveillance surfacing in the video installation Safe Conduct (2016a) by British contemporary artist Ed Atkins. The artwork recreates the well-known situation of going through an airport security check. Through a combination of visual narrative and a soundscape blending the sounds of the conveyor belt and X-ray machines with heavy breathing and Ravel’s Boléro, the work builds up an uncanny anticipation of something awful. Death and violence linger at its edges, and a disquieting atmosphere fills the exhibition space. The objective of the article is twofold: First, it explores the shifting and ambiguous atmospheres produced by contemporary surveillance practices through an immersive reading of the artwork Safe Conduct. Second, and connected to the first, it offers an experimental methodology of written vignettes responding to the embodied, aesthetic experience of atmospheres of surveillance. The article concludes that being more sensitive to the atmospheres of surveillance in our environment can give us a space to think critically about how these atmospheres affect us, how they are absorbed bodily, and how they attune our being: how surveillance is “in the air.”
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Zawojski, Piotr. "Fotografia i film w praktyce artystycznej oraz propozycjach teoretycznych Davida Hockneya." Artium Quaestiones 31, no. 1 (December 20, 2020): 101–22. http://dx.doi.org/10.14746/aq.2020.31.4.
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In his diverse works, David Hockney has used, and still uses, various media, which in some periods of his activity gained leading significance, while in the following they were abandoned or temporarily abandoned. But no matter what medium in the given period was the main form of creativity, the focus of his interest has always been the issue of image and imaging. The article is devoted to the practice and theoretical recognition of photography, which was a kind of introduction to experiments with a moving image. The author refers to the artist's numerous publications on the theory and history of image and imaging (including Secret Knowledge, History of Images, On Photography). Photography led to Hockney's audiovisual realizations. This is a kind of repetition of the natural evolution and developmental progression of the media, also, and perhaps above all, in the technological dimension. The article is divided into three parts. In the first part, the author presents Hockney as a practitioner and theoretician, in whose activities both these activities are closely intertwined. This is a sign of the times: practice and theory are equally important, awareness of the medium, or artistic and aesthetic self-awareness of artists, is an expression of the spirit of the era in which an intuitive approach to art today seems inefficient, not to say impossible. Hockney appears to be an exemplary artist, who is extremely conceptual in his artistic practice as a consequence of his research on the history of art and a constantly developed set of his own theoretical findings. He is an artist discursively commenting not only on his work as an artist in many media (painting, drawing, graphics, set design, photography, film, computer graphics), but also an art and media theoretician reflecting on the fate of images in a changing media landscape. The second part of the article is devoted to the reconstruction of Hockney's theoretical reflections on photography and the analysis of his photographic projects. First of all, experimental Polaroid compositions created in the early eighties, named by the artist joiners, as well as photographic collages and photographic images realized in the later periods of the British artist's work. The third part considers digital movies, as Hockney calls them, audiovisual realizations referring to both his previous photographic works and experimental video films in which multi-camera systems are used.
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Mukherjee, Madhuja. "Little cinema culture: Networks of digital files and festival on the fringes." Studies in South Asian Film & Media 10, no. 1 (October 1, 2019): 23–40. http://dx.doi.org/10.1386/safm_00003_1.
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Abstract This article reflects on the contemporary digital turn that has transformed our audio-visual experiences fundamentally, and has affected mainstream control over production and circulation of data. Clearly, such conditions have reinvented the problematical relation between producer and receiver. In relation to such circumstances, the article focuses on marginal film festivals, especially the TENT 'Little Cinema International Festival' for experimental films and new media-art, held in Kolkata, India, since 2014. 'Little Cinema International Festival', on one hand, showcases international packages such as those from Berlinale; on the other hand, it presents curated programmes comprising videos made by first-time filmmakers from India. The article deliberates on the broad and long drawn contexts of 'festivals' and artistic endeavours, as well as the formal contours of the videos, which generate spaces for dialogues, both within the filmic text, and in the milieus in which these are shown. The emphasis on the thriving 'amateur' practice also draws attention to 'Little Magazine', 'Little Theatre' and 'Little Film' practices in West Bengal, as well as contemporary new-media transactions, which has transmediated into newer modes of articulations.
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Zhang, Heng, Xiaofei Wang, Jiawen Chen, Chenyang Wang, and Jianxin Li. "D2D-LSTM: LSTM-Based Path Prediction of Content Diffusion Tree in Device-to-Device Social Networks." Proceedings of the AAAI Conference on Artificial Intelligence 34, no. 01 (April 3, 2020): 295–302. http://dx.doi.org/10.1609/aaai.v34i01.5363.
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With the proliferation of mobile device users, the Device-to-Device (D2D) communication has ascended to the spotlight in social network for users to share and exchange enormous data. Different from classic online social network (OSN) like Twitter and Facebook, each single data file to be shared in the D2D social network is often very large in data size, e.g., video, image or document. Sometimes, a small number of interesting data files may dominate the network traffic, and lead to heavy network congestion. To reduce the traffic congestion and design effective caching strategy, it is highly desirable to investigate how the data files are propagated in offline D2D social network and derive the diffusion model that fits to the new form of social network. However, existing works mainly concern about link prediction, which cannot predict the overall diffusion path when network topology is unknown. In this article, we propose D2D-LSTM based on Long Short-Term Memory (LSTM), which aims to predict complete content propagation paths in D2D social network. Taking the current user's time, geography and category preference into account, historical features of the previous path can be captured as well. It utilizes prototype users for prediction so as to achieve a better generalization ability. To the best of our knowledge, it is the first attempt to use real world large-scale dataset of mobile social network (MSN) to predict propagation path trees in a top-down order. Experimental results corroborate that the proposed algorithm can achieve superior prediction performance than state-of-the-art approaches. Furthermore, D2D-LSTM can achieve 95% average precision for terminal class and 17% accuracy for tree path hit.
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Thorne, Sarah. "Hey Siri, tell me a story: Digital storytelling and AI authorship." Convergence: The International Journal of Research into New Media Technologies 26, no. 4 (April 15, 2020): 808–23. http://dx.doi.org/10.1177/1354856520913866.
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Surveying narrative applications of artificial intelligence in film, games and interactive fiction, this article imagines the future of artificial intelligence (AI) authorship and explores trends that seek to replace human authors with algorithmically generated narrative. While experimental works that draw on text generation and natural language processing have a rich history, this article focuses on commercial applications of AI narrative and looks to future applications of this technology. Video games have incorporated AI and procedural generation for many years, but more recently, new applications of this technology have emerged in other media. Director Oscar Sharp and artist Ross Goodwin, for example, generated significant media buzz about two short films that they produced which were written by their AI screenwriter. It’s No Game (2017), in particular, offers an apt commentary on the possibility of replacing striking screenwriters with AI authors. Increasingly, AI agents and virtual assistants like Siri, Cortana, Alexa and Google Assistant are incorporated into our daily lives. As concerns about their eavesdropping circulate in news media, it is clear that these companions are learning a lot about us, which raises concerns about how our data might be employed in the future. This article explores current applications of AI for storytelling and future directions of this technology to offer insight into issues that have and will continue to arise as AI storytelling advances.
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Bešlagić, Luka. "Computer Interface as Film: Post-Media Aesthetics of Desktop Documentary." AM Journal of Art and Media Studies, no. 20 (October 15, 2019): 51. http://dx.doi.org/10.25038/am.v0i20.323.
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This paper explores a recently emerged audiovisual form called desktop documentary, an interdisciplinary computer-based variant of the essay film. As a post-media practice, no longer exclusively dependent on the film medium, desktop filmmaking represents a hybrid audiovisual genre entirely conducted in the digital environment by using and exploiting preexisting materials in new contexts while using the advantages of the Internet, widely used software and digital tools. Desktop documentary filmmaking corresponds to the widespread artistic practice of postproduction – a concept introduced by Nicolas Bourriaud signifying a new state of affairs when all texts of culture are already available (mostly as digital objects) and the artist intervenes on existing materials rather than produces artworks ex nihilo. Belonging to the tradition of essay film – a cinematic documentary and experimental mode in which moving images and off-screen verbal voice or textual captions establish complex relations – desktop video essays introduce new post-media aesthetics. Similar to the idea of using everyday materials in the artistic context, initially proposed with Duchamp’s ready-mades, which unprecedentedly effaced every notion of the style from their avant-garde aesthetics, desktop documentaries often minimize and abolish cinematic stylistic qualities. One of the most significant aspects of desktop documentaries is that the act of film viewing does not differ from common computer user experience: having replaced traditional film screen with the computer interface, the interactive process of computational multitasking and navigation, performed on various digital data and files, becomes the very content of the film. After the historical overview of the phenomenon and general introduction into the post-media theory, selected works of representative desktop documentarists such as Kevin B. Lee and Louis Henderson are analyzed in their deconstructive approach to traditional and digital filmmaking – subversive both formally and politically. Article received: May 28, 2019; Article accepted: July 6, 2019; Published online: October 15, 2019; Original scholarly paperHow to cite this article: Bešlagić, Luka. "Computer Interface as Film: Post-Media Aesthetics of Desktop Documentary." AM Journal of Art and Media Studies 20 (2019): 51-60. doi: 10.25038/am.v0i20.323.
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Hilderbrand, Lucas. "The Art of Distribution: Video on Demand." Film Quarterly 64, no. 2 (2010): 24–28. http://dx.doi.org/10.1525/fq.2010.64.2.24.
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An account of the rise of Video on Demand as a method of distribution for arthouse and independent films, focusing on the IFC Films and Magnolia Pictures companies, and charting the growing success of streaming video as opposed to DVD and theatrical releasing.
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McHugh, Susan. "Video Dog Star: William Wegman, Aesthetic Agency, and the Animal in Experimental Video Art." Society & Animals 9, no. 3 (2001): 229–51. http://dx.doi.org/10.1163/156853001753644390.
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AbstractThe canine photographs, videos, and photographic narratives of artist William Wegman frame questions of animal aesthetic agency. Over the past 30 years, Wegman's dog images shift in form and content in ways that reflect the artist's increasing anxiety over his control of the art-making process once he becomes identified, in his own words, as "the dog photographer". Wegman's dog images claim unique cultural prominence, appearing regularly in fine art museums as well as on broadcast television. But, as Wegman comes to use these images to document his own transition from dog photographer to dog breeder, these texts also reflect increasing restrictions on what I term the "pack aesthetics," or collaborative production of art and artistic agency, that distinguish some of the early pieces. Accounting for the correlations between multiple and mongrel dogs in Wegman's experimental video work and exclusively Weimaraner-breed dogs with human bodies in his recent work in large-format Polaroid photography, this article explores how Wegman's work with his "video dog star," his first Weimaraner dog Man Ray, troubles the erasure of the animal in contemporary conceptions of artistic authority.
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SENN, DAN. "Pendulum-based instruments, percussive video, sound art, and the permanence of ephemeral public art." Organised Sound 2, no. 3 (December 1997): 151–63. http://dx.doi.org/10.1017/s1355771898009017.
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In this article, and within the context of sound art as a basis for artistic freedom in experimental music and art, the development of pendulum-based sculptural instruments and an improvisational form of video called ‘percussive video’ are described. Methods used to produce time-based public art events are also outlined, and their effectiveness in directing social change at the local level is discussed.
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KARTSEVA, EKATERINA A. "SCREEN FORMS AT BIENNIALS OF CONTEMPORARY ART." Art and Science of Television 16, no. 3 (2020): 11–30. http://dx.doi.org/10.30628/1994-9529-2020-16.3-11-30.
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Video today is a popular tool for artists of postmodern, poststructuralist, post-conceptual orientations. These practices have not yet developed their economic model and have spread mainly through biennials and festivals of contemporary art, as the main form of their comprehension and display. At the same time, “video art”, “video installations”, “video sculptures”, “video performances”, “films” at the exhibitions are far from an exhaustive list of strategies, stating a cinematic turn in contemporary art, where videos are considered among the basic tools of a contemporary artist and curator. It gets increasingly difficult to imagine exhibitions that resonate with the public and critics without video. From an avant-garde countercultural practice, video has become the mainstream of contemporary exhibition projects and is presented in exhibitions in many variations. The article analyzes the strategies for including video in the expositions of national pavilions at the 58th Venice Biennale, among which the production of video content in the genre of documentary filming, investigative journalism, artistic mystification, and interactive installation can be distinguished. Artists both create their own content and use footage content from the Internet. The main awards of the Biennale are won by large—scale projects that dialogize fine art with cinema and theater. For the implementation of artistic ideas curators of biennial projects attract professional directors, screenwriters, sound and light specialists. The biennials of contemporary art, by analogy with the term screen culture, can be attributed to the large format in contemporary art. At them, video goes beyond the small screens with the help of full-screen interactive installations, projections on buildings, films timed to exhibitions are broadcast on YouTube and Netflix. As the coronavirus pandemic has shown, the search for new tactics using screen forms is sometimes the only way out for a large exhibition practice in a situation where it is impossible to conduct international projects and comply with new regulations. The Riga Biennale of Contemporary Art, Steirischer herbst in Graz, followed this path. The exhibition is moving closer to film production. New optical and bodily models are being formed. The contemplative essence of art is being replaced by new ways of human perception of information, space and time, built on the convergence of communication means—video, music, dance, the interpenetration of objective and virtual realities.
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Burgoyne, Robert. "Super Mario Clouds and the John Ford Sky: Love and Loss in the Work of Douglas Gordon and Cory Arcangel." Txt: Leituras Transdisciplinares de Telas e Textos 4, no. 7 (June 30, 2015): 36. http://dx.doi.org/10.17851/1809-8150.4.7.36-44.
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<p><strong>Abstract</strong>: A shared culture of art practice has emerged around classical Hollywood films and interactive video games, an art practice that uses both of these dominant media as a type of “readymade." One critic has called contemporary video artists such as Cory Arcangel and Douglas Gordon the “ideal childrenof the children of Duchamp.” Reformulating well known films, video games, and television broadcasts, these artists provide a way of customizing industrially produced pleasures, reconfiguring in a personal and illuminating way the objects of audio-visual culture.</p><p> </p>
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Cox, Carole. "Electronic Media: New Films on the Art of Film, Filmmaking, and Video Production." English Journal 76, no. 3 (March 1987): 106. http://dx.doi.org/10.2307/818565.
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Staruseva-Persheeva, Alexandra Dmitrievna. "Video Art: “A White Cube” or “A Black Box”?" Journal of Flm Arts and Film Studies 6, no. 4 (December 15, 2014): 114–23. http://dx.doi.org/10.17816/vgik64114-123.
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Video art is a hybrid, combining features of both contemporary art as well as screen arts. It brings together different ways of perception working both in a manner of a movie which transfers the viewer into virtual daydreaming (Matthew Barney, Steeve McQueen), and in a manner of a painting or sculpture which gives a viewer some intense corporal experience (Tony Oursler). Accordingly, there are two ways of presenting video art: in a white cube and a black box. In 1970-s video art used to be presented in white cubes of contemporary art galleries where they nailed the screens right to the wall. In a white cube video comes into the viewers sight together with other items in display, therefore a show-piece comes into contact with other ones in a spectators minds eye. Moreover, a white cube gives visitors an opportunity to be in charge of their time of viewing, which implies, that the white cube perception appears rather chaotic and the final cut of a video in the spectators mind becomes unpredictable, what is characteristic of video. In 2000-s when both video and film technologies got replaced by the digital one, all the moving pictures started to resemble one another. A well-lit room of a white cube was not appropriate for high definition videos, whereas a black box is usually associated with a cinema hall and consequently a video presented in such a cinematic manner makes a viewer unconsciously expect to see a cinematic piece of art. Video today is an indispensable figurant of any significant exhibition of contemporary art and it is defined as an artistic (not cinematic) media. Traditionally video is being exhibited in a white cube of a gallery; however, there is now a distinct tendency to present video art in a black box, that is in a cinematic way. As a result its getting harder and harder to distinguish video art from experimental cinema. Nowadays the very strategy of presentation of video may help this media to retain identity or to lose it.
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Perrott, Lisa. "Experimental animation and the neosurrealist remediation of popular music video." Animation Practice, Process & Production 8, no. 1 (December 1, 2019): 85–106. http://dx.doi.org/10.1386/ap3_00006_1.
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Once appearing to function primarily as a commercial tool for popular entertainment, the popular form of music video has recently been exposed by scholars as formally and functionally diverse, with a rich history stretching back decades before the advent of MTV. Animated music videos owe much to centuries old traditions spanning the visual, musical and performing arts, providing performative and material models that inspire contemporary video directors. Experimental animation, surrealism and music video form a matrix of historical and contemporary significance; however, few scholars have undertaken close examinations of the relations between them. John Richardson and Mathias Korsgaard show how music video directors have employed surrealist compositional strategies together with experimental animation methods, thus giving rise to challenging new forms that traverse disparate approaches to art and culture. Building upon their contributions, this article explores the continuity between experimental animation, surrealism and music video, with a view to discovering the subversive potential of this matrix. In order to probe this potential, the author examines how music video directors experiment with animation technique as a means of subversion and enrichment of popular music video. Through close analysis of music videos directed by Adam Jones, Stephen Johnson, Floria Sigismondi and Chris Hopewell, this article charts the continuity of surrealist strategy across culturally specific moments in history, thus provoking questions around the perceived functions of animated media and popular music video.
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Fadly Sabran, Mohamad. "Video Art as a Propaganda Medium of the Socio-Politics." International Journal of Creative Multimedia 1, no. 1 (May 18, 2020): 25–31. http://dx.doi.org/10.33093/ijcm.2020.1.1.4.
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Television is a popular medium that is used as a propaganda tool in spreading ideologies. As such, the continuous propagation of ideologies through television fiddles with the sentiment of the public over time. This is obvious through various media campaigns that was broadcasted through television during the 14th general election of Malaysia in 2018. These media campaigns propagate the idea of ‘change’ by presenting audio-visual information that instigates a euphoric reaction. ‘Beauty (fool) of destruction’ is an experimental video art prompted by such propagation and its effect on society.This essay discusses the creation of the video work and its adaptation of the Malay proverb ‘Indah Khabar dari Rupa’ as a reaction to the political campaigns of the 14th general election. Specifically, it examines video as an avenue for responding towards the wield of ideology on electronic media and as a medium of expression for new forms of art making
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Lewandowski, Filip, Mateusz Paluszkiewicz, Tomasz Grajek, and Krzysztof Wegner. "Methodology for 3D Video Subjective Quality Evaluation." International Journal of Electronics and Telecommunications 59, no. 1 (March 1, 2013): 25–32. http://dx.doi.org/10.2478/eletel-2013-0003.
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Abstract The paper presents the methodology for 3D video subjective quality evaluation. Described methodology was designed to compare different 3D video compression technologies without an influence of any particular displaying or rendering technology. In addition detailed step by step description of test session design and preparation is provided. Experimental results for state-of-the-art 3D encoders are also included. All tests were conducted on two 3D monitors (polarization and autostereoscopic) thus influence of different displaying technologies on 3D video quality assessments has also been evaluated.
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Zesseu, Claude Tankwa. "Viewing African cinema in the twenty-first century: art films and the Nollywood video revolution." Canadian Journal of African Studies / Revue canadienne des études africaines 47, no. 2 (August 2013): 342–43. http://dx.doi.org/10.1080/00083968.2013.829953.
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Barker, Tim. "Experiments with time: the technical image in video art, new media and the digital humanities." Visual Communication 16, no. 4 (September 26, 2017): 375–94. http://dx.doi.org/10.1177/1470357217702360.
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In this article, the author begins to identify a new way to understand the experiment in arts and humanities research. Focusing on the production of what Vilém Flusser calls ‘technical images’ in video art and new media projects, he suggests that the experiment in experimental art may be rethought as a method for testing concepts and observations through the application of media technology as an apparatus. The technical image is a time-critical way to understand automatic image making devices and using this method of analysis he identifies examples where artists and humanities scholars have programmed devices to experiment with the time of contemporary media culture. Beginning with an analysis of Mark Hansen and Ben Rubin’s two works Listening Post and Moveable Type, the author uses a number of examples, from contemporary experiments with digital media to the experiments with video in the 1970s and 1980s, to show how artists and humanities scholars have used technical images to engage in experimental research outside the controlled laboratory of scientific experiments. If experimental scientists test scientific problems by developing, programming and applying an apparatus, the experimental artists identified in this article can likewise be seen to test aesthetic and cultural problems by similarly redesigning, scaling-up and experimentally applying media technology.
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Xiao, He. "Gradient-Mapping-Based Method for Video Enhancement." Applied Mechanics and Materials 685 (October 2014): 559–62. http://dx.doi.org/10.4028/www.scientific.net/amm.685.559.
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In order to improve the visual effect of nighttime videos, an effective video enhancement method based on gradient mapping is proposed. The proposed method firstly is to change color space from RGB to HSI, secondly the horizontal gradient and vertical gradient components of frames are calculated in I component. Then frame’s gradient is enhanced by the proposed global mapping method. Meanwhile, saturation S component is enhanced to reduce the color distortion. Finally, color video frames are reconstructed. Experimental results show that the proposed method can obtain more appealing perceptual quality than the state-of-the-art algorithms.
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Kohut, Volodymyr. "Video art of Lviv, late XX - early XXI century, historical context: creating an art form." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 317–33. http://dx.doi.org/10.37131/2524-0943-2019-39-22.
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Background. For the last 25 years videoart in Ukraine had passed a maturation from the elementary experimental video practices of the end of the 80's to the full-identical art form. Like most of the USSR innovative art trends, videoart in Ukraine paved it's way through the formal endorsement's resistance and had been creating owing to the enthusiasm and persistence of individual artists and single artistic formations. Ukrainian videoart had developed according to all the fine art growth's features of socialistic period; however was established and concepted for the first time in Lviv as a phenomenon in the 1990-s what had generated a brand-new pleiad of cultural actors and had influence on the alternative artistic expression mediums of that time. Objectives. The incipience and developnent of Lviv videoart appears to be the main goal, applicating specifics of the new media style in individual artistic identification for single artists and Lviv artistic enviroment in general; reconstitution of the expression of new visual ideas made via video camera among social and historical “perestroika” context. Videoart role definition in the artistic expression of the totalitarian unrest period. Methods. Achieving the goals of the article was implemented via empirical methods: comparison, observation, description of the historical facts, which preceded videoart foundation throughout Ukraine. Theoretical methods were founded for the analysis of videoart, it’s role and position in art studies historiography of Lviv focus. Also deductive chronology playbacking method, what gave an opportunity to represent a whole artistic climate where Lviv videoart was established. Classification method divided artistic formations into groups based on artistic and stylistic criterion. Results. The research results confirmed the idea of independent Lviv videoart existance with it’s own establishing and development history. Research, based on Andrij Boyarov artworks of the end of 80’s, showed up comprehensive data that videoart had not been positioned as additional medium for single artist’s creations diluting; combination of photo and video was and remains the main activity for a certain range of artists thus proving that emergence of videoart genre had not turned into spontaneous way or copied from West European processes but rather appeared to be totally required by socio-political environment, the artist and the viewer to see the video reflections in galleries. Formed chronology showed up a special linkages between the appearance of brand-new art experiments, alternative practices and youth movements, festivals and artistic formations that had established the very first Ukrainian galleries and had placed curator practices unprecedented neither for artists nor for viewers. These were the “Tsenter Europy”, “Try Krapky”, “Dzyga” galleries, where the exhibitions “Thing Theatre or thing ecology”, “Defloration” and “Congress of Ukrainian Physicians Exhibition” took place at the time of turning point of Ukraine’s 90’s. The “Vyvykh” Festival had become a so-called Vesuvius for massive Lviv non-conformism vector, which explored a number of brand-new names of experimental art and videoart: Alfred Maksymenko, Andrij Boyarov, Hanna Kuts, Viktor Dovhaljuk, Ihor Podolchak, Serhiy Petljuk and others. During the consideration it was revealed that Lviv videoart meant to be different from the one in the other Ukrainian videoart centers due to it “pedagogical” aspect, namely it was the only center, where the experience sharing for the young generation truly existed, that had been caused by reservation problem and communication absence between the videoartists and a range of author generations. The originator of the first videoart in Ukraine - Alfred Maksymenko - now works as a pedagogue at Lviv National Academy of Arts, whose Studies generated a number of videoartists, carring on Lviv Classic School traditions and creating original stylistic indications. Conclusions. This social-informational research has shown preconditions for a brand-new art genre establishment - the 90’s Lviv videoart and the fact that it was not born in a way of “playing” or “flirtation” with some kind of new imported technical equipment but had it’s own conceptual way instead; got an opportunity to continue previous visual practices and expand the frontiers of visual influences on viewer. The analysis of Lviv videoart formation concludes the research and brings up the subject for further researches: establishing of high-quality art analysis of single artists working in videoart for already more than 25 years. A totally special stylistic manner of creating video images had emerged during that time period, which echoes with traditional Lviv Classic School painting manner and brand-new mediums born and dictated by alternative angles and technical implementation of videoart.
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Essel, Daniel Danso, Ben-Bright Benuwa, and Benjamin Ghansah. "Video Semantic Analysis." International Journal of Computer Vision and Image Processing 11, no. 2 (April 2021): 1–21. http://dx.doi.org/10.4018/ijcvip.2021040101.
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Sparse Representation (SR) and Dictionary Learning (DL) based Classifier have shown promising results in classification tasks, with impressive recognition rate on image data. In Video Semantic Analysis (VSA) however, the local structure of video data contains significant discriminative information required for classification. To the best of our knowledge, this has not been fully explored by recent DL-based approaches. Further, similar coding findings are not being realized from video features with the same video category. Based on the foregoing, a novel learning algorithm, Sparsity based Locality-Sensitive Discriminative Dictionary Learning (SLSDDL) for VSA is proposed in this paper. In the proposed algorithm, a discriminant loss function for the category based on sparse coding of the sparse coefficients is introduced into structure of Locality-Sensitive Dictionary Learning (LSDL) algorithm. Finally, the sparse coefficients for the testing video feature sample are solved by the optimized method of SLSDDL and the classification result for video semantic is obtained by minimizing the error between the original and reconstructed samples. The experimental results show that, the proposed SLSDDL significantly improves the performance of video semantic detection compared with state-of-the-art approaches. The proposed approach also shows robustness to diverse video environments, proving the universality of the novel approach.
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Santanera, Giovanna. "‘Films that don't seem Cameroonian’: professional video making and self-styling among Douala youth." Africa 89, no. 1 (February 2019): 165–86. http://dx.doi.org/10.1017/s0001972019000275.
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AbstractThis article discusses youth cultural production in contemporary Africa, analysing the videos of Douala, which are often called ‘films that don't seem Cameroonian’. Most contemporary African videos dramatize everyday life, telling didactic stories that are very close to ordinary people's experiences. As such, they have been interpreted as forms of African popular art. Films that don't seem Cameroonian, however, break with this dominant trend. Directors and actors openly quote international hits and are more interested in transcending the local context than in dramatizing (and moralizing) it. Inserting this production into Douala society, this article deals with the youths’ desire to escape their everyday situations and connect with the global arena. It also considers the failures of this ambition, as their poor finances and infrastructural challenges bind them to a much more restricted horizon of possibilities. Video filmmaking in Cameroon is both a source of empowerment and prestige and a sign of marginality and powerlessness. The article concludes with an account of the cultural work at the core of videos that are syncretic and urban, but only partially ascribable to other experiences of African popular art.
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Yoon, Ui-Nyoung, Myung-Duk Hong, and Geun-Sik Jo. "Interp-SUM: Unsupervised Video Summarization with Piecewise Linear Interpolation." Sensors 21, no. 13 (July 2, 2021): 4562. http://dx.doi.org/10.3390/s21134562.
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This paper addresses the problem of unsupervised video summarization. Video summarization helps people browse large-scale videos easily with a summary from the selected frames of the video. In this paper, we propose an unsupervised video summarization method with piecewise linear interpolation (Interp-SUM). Our method aims to improve summarization performance and generate a natural sequence of keyframes with predicting importance scores of each frame utilizing the interpolation method. To train the video summarization network, we exploit a reinforcement learning-based framework with an explicit reward function. We employ the objective function of the exploring under-appreciated reward method for training efficiently. In addition, we present a modified reconstruction loss to promote the representativeness of the summary. We evaluate the proposed method on two datasets, SumMe and TVSum. The experimental result showed that Interp-SUM generates the most natural sequence of summary frames than any other the state-of-the-art methods. In addition, Interp-SUM still showed comparable performance with the state-of-art research on unsupervised video summarization methods, which is shown and analyzed in the experiments of this paper.
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Frank, Hannah. "A Review of “A History of Swedish Experimental Film Culture: From Early Animation to Video Art”." Quarterly Review of Film and Video 30, no. 4 (July 2013): 351–54. http://dx.doi.org/10.1080/10509208.2011.648074.
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Ukadike, N. Frank. "Images of the 'Reel' Thing: African Video-Films and the Emergence of a New Cultural Art." Social Identities 6, no. 3 (September 2000): 243–61. http://dx.doi.org/10.1080/13504630050137615.
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Rotman, Daniel, Dror Porat, and Gal Ashour. "Optimal Sequential Grouping for Robust Video Scene Detection Using Multiple Modalities." International Journal of Semantic Computing 11, no. 02 (June 2017): 193–208. http://dx.doi.org/10.1142/s1793351x17400086.
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Video scene detection is the task of dividing a video into semantic sections. To perform this fundamental task, we propose a novel and effective method for temporal grouping of scenes using an arbitrary set of features computed from the video. We formulate the task of video scene detection as a generic optimization problem to optimally group shots into scenes, and propose an efficient procedure for solving the optimization problem based on a novel dynamic programming scheme. This unique formulation directly results in a temporally consistent segmentation, and has the advantage of being parameter-free, making it applicable across various domains. We provide detailed experimental results, showing that our algorithm outperforms current state-of-the-art methods. To assess the comprehensiveness of this method even further, we present experimental results testing different types of modalities and their applicability in this formulation.
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Han, Xiaochen, Bo Wu, Zheng Shou, Xiao-Yang Liu, Yimeng Zhang, and Linghe Kong. "Tensor FISTA-Net for Real-Time Snapshot Compressive Imaging." Proceedings of the AAAI Conference on Artificial Intelligence 34, no. 07 (April 3, 2020): 10933–40. http://dx.doi.org/10.1609/aaai.v34i07.6726.
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Snapshot compressive imaging (SCI) cameras capture high-speed videos by compressing multiple video frames into a measurement frame. However, reconstructing video frames from the compressed measurement frame is challenging. The existing state-of-the-art reconstruction algorithms suffer from low reconstruction quality or heavy time consumption, making them not suitable for real-time applications. In this paper, exploiting the powerful learning ability of deep neural networks (DNN), we propose a novel Tensor Fast Iterative Shrinkage-Thresholding Algorithm Net (Tensor FISTA-Net) as a decoder for SCI video cameras. Tensor FISTA-Net not only learns the sparsest representation of the video frames through convolution layers, but also reduces the reconstruction time significantly through tensor calculations. Experimental results on synthetic datasets show that the proposed Tensor FISTA-Net achieves average PSNR improvement of 1.63∼3.89dB over the state-of-the-art algorithms. Moreover, Tensor FISTA-Net takes less than 2 seconds running time and 12MB memory footprint, making it practical for real-time IoT applications.
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Guo, Xiao Ran, Shao Hui Cui, and Fang Dan. "Robust Feature Points Extraction Based on Harris and SIFT." Applied Mechanics and Materials 347-350 (August 2013): 3500–3504. http://dx.doi.org/10.4028/www.scientific.net/amm.347-350.3500.
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This article presents a novel approach to extract robust local feature points of video sequence in digital image stabilization system. Robust Harris-SIFT detector is proposed to select the most stable SIFT key points in the video sequence where image motion is happened due to vehicle or platform vibration. Experimental results show that the proposed scheme is robust to various transformations of video sequences, such as translation, rotation and scaling, as well as blurring. Compared with the current state-of-the-art schemes, the proposed scheme yields better performances.
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Voloshyn, D. "Application of deep learning and computer vision frameworks for solving video context prediction problem." PROBLEMS IN PROGRAMMING, no. 2-3 (June 2016): 164–69. http://dx.doi.org/10.15407/pp2016.02-03.164.
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Authors describe an application for solving video context detection problem. Application architecture use state-of-the-art deap learning TensorFlow framework together with the computer vision library OpenCV in isolated agent environment. The experimental results are shown to demonstrate the effectiveness of developed product.
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BABER, JUNAID, NITIN AFZULPURKAR, and SHIN'ICHI SATOH. "A FRAMEWORK FOR VIDEO SEGMENTATION USING GLOBAL AND LOCAL FEATURES." International Journal of Pattern Recognition and Artificial Intelligence 27, no. 05 (August 2013): 1355007. http://dx.doi.org/10.1142/s0218001413550070.
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Rapid increase in video databases has forced the industry to have efficient and effective frameworks for video retrieval and indexing. Video segmentation into scenes is widely used for video summarization, partitioning, indexing and retrieval. In this paper, we propose a framework for scene detection mainly based on entropy and Speeded Up Robust Features (SURF) features. First, we detect the fade and abrupt boundaries based on frame entropy analysis and SURF features matching. Fade boundaries are smart indication of scenes beginning or ending in many videos and dramas, and are detected by frame entropy analysis. Before abrupt boundary detection, unnecessary frames which are obviously not abrupt boundaries, such as blank screens, high intensity influenced images, sliding credits, are removed. Candidate boundaries are detected to make SURF features efficient for abrupt boundary detection, and SURF features between candidate boundaries and their adjacent frames are used to detect the abrupt boundaries. Second, key frames are extracted from abrupt shots. We evaluate our key frame extraction with other famous algorithms and show the effectiveness of the key frames. Finally, scene boundaries are detected using sliding window of size K over the key frames in temporal order. In experimental evaluation on the TRECVID-2007 shot boundary test set, the algorithm for shot boundary achieves substantial improvements over state-of-the-art methods with the precision of 99% and the recall of 97.8%. Experimental results for video segmentation into scenes are also promising, compared to famous state-of-the-art techniques.
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Hu, Yongjian, Chang-Tsun Li, Yufei Wang, and Bei-bei Liu. "An Improved Fingerprinting Algorithm for Detection of Video Frame Duplication Forgery." International Journal of Digital Crime and Forensics 4, no. 3 (July 2012): 20–32. http://dx.doi.org/10.4018/jdcf.2012070102.
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Frame duplication is a common way of digital video forgeries. State-of-the-art approaches of duplication detection usually suffer from heavy computational load. In this paper, the authors propose a new algorithm to detect duplicated frames based on video sub-sequence fingerprints. The fingerprints employed are extracted from the DCT coefficients of the temporally informative representative images (TIRIs) of the sub-sequences. Compared with other similar algorithms, this study focuses on improving fingerprints representing video sub-sequences and introducing a simple metric for the matching of video sub-sequences. Experimental results show that the proposed algorithm overall outperforms three related duplication forgery detection algorithms in terms of computational efficiency, detection accuracy and robustness against common video operations like compression and brightness change.
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Spigel, Lynn. "The American Connection: Jean-Christophe Averty and his U.S. TV Contemporaries." Cinémas 26, no. 2-3 (April 5, 2017): 173–97. http://dx.doi.org/10.7202/1039371ar.
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This essay explores the television productions of Ernie Kovacs and Charles and Ray Eames, analyzing their pioneering audio-visual experiments in the American network broadcast system of the mid-century period. It examines how their work with TV graphics, montage, collage, sound, video tricks and special effects relates to Jean Christophe Averty’s work in French TV in the same period. It explores the “experimental spirit” across the Atlantic before the rise of video art per se, demonstrating how all of these early TV artists challenged dominant conceptions of what TV should be in their respective national and industrial contexts. Finally, it calls for more historical research on and theoretical inquiry into the complex relationships between art, design and commercial TV at mid-century.
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Li, Jing, and Bin Hu. "Research on the Application of Digital Images Based on the Computer Graphics." Applied Mechanics and Materials 556-562 (May 2014): 4998–5002. http://dx.doi.org/10.4028/www.scientific.net/amm.556-562.4998.
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Digital art images which is based on the computer graphics is integrated with computer graphics technology and network transmission technology. The design of the system is a new application in the field of digital art. This paper chooses ARM9 (S3C2440) processor as the hardware platform, and computer graphics Linux operating system as the software platform. Then it puts forward an improved algorithm of digital art images based on frame difference, and completes the design of digital art images system that can be applied to the community monitoring or bank safety unattended. The experimental results show that the system can extract the background images from the sequence video, so as to improve the quality of digital art images.
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Hernandez, C., Z. De La Lande Dolce, R. Bensaied, and M. Mitrea. "Neural network-based assessment of the impact induced in video quality assessment by the semantic labels." Electronic Imaging 2021, no. 9 (January 18, 2021): 224–1. http://dx.doi.org/10.2352/issn.2470-1173.2021.9.iqsp-224.
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Subjective video quality assessment generally comes across with semantically labeled evaluation scales (e.g. Excellent, Good, Fair, Poor and Bad on a single stimulus, 5 level grading scale). While suspicions about an eventual bias these labels induce in the quality evaluation always occur, to the best of our knowledge, very few state-of-the-art studies target an objective assessment of such an impact. Our study presents a neural network solution in this respect. We designed a 5-class classifier, with 2 hidden layers, and a softmax output layer. An ADAM optimizer coupled to a Sparse Categorical Cross Entropy function is subsequently considered. The experimental results are obtained out of processing a database composed of 440 observers scoring about 7 hours of video content of 4 types (high-quality stereoscopic video content, low-quality stereoscopic video content, high-quality 2D video, and low-quality 2D video). The experimental results are discussed and confrontment to the reference given by a probability-based estimation method. They show an overall good convergence between the two types of methods while pointing out to some inner applicative differences that are discussed and explained.
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Cheng, Xianhang, and Zhenzhong Chen. "Video Frame Interpolation via Deformable Separable Convolution." Proceedings of the AAAI Conference on Artificial Intelligence 34, no. 07 (April 3, 2020): 10607–14. http://dx.doi.org/10.1609/aaai.v34i07.6634.
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Learning to synthesize non-existing frames from the original consecutive video frames is a challenging task. Recent kernel-based interpolation methods predict pixels with a single convolution process to replace the dependency of optical flow. However, when scene motion is larger than the pre-defined kernel size, these methods yield poor results even though they take thousands of neighboring pixels into account. To solve this problem in this paper, we propose to use deformable separable convolution (DSepConv) to adaptively estimate kernels, offsets and masks to allow the network to obtain information with much fewer but more relevant pixels. In addition, we show that the kernel-based methods and conventional flow-based methods are specific instances of the proposed DSepConv. Experimental results demonstrate that our method significantly outperforms the other kernel-based interpolation methods and shows strong performance on par or even better than the state-of-the-art algorithms both qualitatively and quantitatively.
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Wang, Wenjing, Jizheng Xu, Li Zhang, Yue Wang, and Jiaying Liu. "Consistent Video Style Transfer via Compound Regularization." Proceedings of the AAAI Conference on Artificial Intelligence 34, no. 07 (April 3, 2020): 12233–40. http://dx.doi.org/10.1609/aaai.v34i07.6905.
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Recently, neural style transfer has drawn many attentions and significant progresses have been made, especially for image style transfer. However, flexible and consistent style transfer for videos remains a challenging problem. Existing training strategies, either using a significant amount of video data with optical flows or introducing single-frame regularizers, have limited performance on real videos. In this paper, we propose a novel interpretation of temporal consistency, based on which we analyze the drawbacks of existing training strategies; and then derive a new compound regularization. Experimental results show that the proposed regularization can better balance the spatial and temporal performance, which supports our modeling. Combining with the new cost formula, we design a zero-shot video style transfer framework. Moreover, for better feature migration, we introduce a new module to dynamically adjust inter-channel distributions. Quantitative and qualitative results demonstrate the superiority of our method over other state-of-the-art style transfer methods. Our project is publicly available at: https://daooshee.github.io/CompoundVST/.
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Bian, Xiaoman, Rushi Lan, Xiaoqin Wang, Chen Chen, Zhenbing Liu, Xiaonan Luo, and Kuei-Kuei Lai. "Discriminative Codebook Hashing for Supervised Video Retrieval." Computational Intelligence and Neuroscience 2021 (August 25, 2021): 1–11. http://dx.doi.org/10.1155/2021/5845094.
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In recent years, hashing learning has received increasing attention in supervised video retrieval. However, most existing supervised video hashing approaches design hash functions based on pairwise similarity or triple relationships and focus on local information, which results in low retrieval accuracy. In this work, we propose a novel supervised framework called discriminative codebook hashing (DCH) for large-scale video retrieval. The proposed DCH encourages samples within the same category to converge to the same code word and maximizes the mutual distances among different categories. Specifically, we first propose the discriminative codebook via a predefined distance among intercode words and Bernoulli distributions to handle each hash bit. Then, we use the composite Kullback–Leibler (KL) divergence to align the neighborhood structures between the high-dimensional space and the Hamming space. The proposed DCH is optimized via the gradient descent algorithm. Experimental results on three widely used video datasets verify that our proposed DCH performs better than several state-of-the-art methods.
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Capilitan, Fernando T. "Instructional DVD video lesson with code switching: its effect on the performance level in dancing social dance among grade 10 special program in the art students of the Philippines." Journal of Language and Cultural Education 5, no. 1 (January 1, 2017): 118–26. http://dx.doi.org/10.1515/jolace-2017-0007.
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Abstract This paper shows that the experimental group who are exposed to DVD Video Lesson that uses code switching language has an average mean score in the pretest of 1.56, and this increased to an average mean of 3.50 in the posttest. The control group that uses DVD Video Lesson that uses purely English language got an average mean of 1.06 in the pretest and increased to 1.53 in the posttest. Based on the results of the performance posttest taken by the two groups, the experimental group has a dramatic increase in scores from the pretest to posttest. Although both groups had increased in their performance scores from pretest to posttest, the experimental group (code switching language) performs well in the posttest than the control group. As revealed in this findings , there is a significant difference in the posttest scores between the experimental group who are exposed to DVD lesson that uses code switching as a medium of instruction and the control group who are exposed to DVD lesson that uses English. The students who are exposed to the Video Lesson that uses code switching perform well than those students who are exposed in DVD video lesson that uses purely English language. DVD Video lesson that uses code switching as a medium of instruction in teaching social dance is the useful approach in teaching Grade 10 Special Program in the Art students. The language used (code switching) is the powerful medium of instruction that enhances the learning outcomes of the students to perform well. This paper could be an eye opener to the Department of Education to inculcate the used of first language/local language or MTB-MLE, not only in Grade I to III but all level in K to 12 programs, since education is a key factor for building a better nation.
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Mizher, Manar Abduljabbar, Mei Choo Ang, and Ahmad Abdel Jabbar Mazhar. "A Meaningful Compact Key Frames Extraction in Complex Video Shots." Indonesian Journal of Electrical Engineering and Computer Science 7, no. 3 (September 1, 2017): 818. http://dx.doi.org/10.11591/ijeecs.v7.i3.pp818-829.
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Key frame extraction is an essential technique in the computer vision field. The extracted key frames should brief the salient events with an excellent feasibility, great efficiency, and with a high-level of robustness. Thus, it is not an easy problem to solve because it is attributed to many visual features. This paper intends to solve this problem by investigating the relationship between these features detection and the accuracy of key frames extraction techniques using TRIZ. An improved algorithm for key frame extraction was then proposed based on an accumulative optical flow with a self-adaptive threshold (AOF_ST) as recommended in TRIZ inventive principles. Several video shots including original and forgery videos with complex conditions are used to verify the experimental results. The comparison of our results with the-state-of-the-art algorithms results showed that the proposed extraction algorithm can accurately brief the videos and generated a meaningful compact count number of key frames. On top of that, our proposed algorithm achieves 124.4 and 31.4 for best and worst case in KTH dataset extracted key frames in terms of compression rate, while the the-state-of-the-art algorithms achieved 8.90 in the best case.
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Durmelat, Sylvie. "The Art of Saving Food: Preserving Gestures in Ymane Fakhir's Video Installation, Handmade (2011–12)." Gastronomica 19, no. 3 (2019): 60–66. http://dx.doi.org/10.1525/gfc.2019.19.3.60.
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If food is transient, so are the techniques, gestures, and know-how required to preserve it and extend its lifetime. “There is a life and death of gestures,” Luce Giard (1998: 202) suggests with a tinge of nostalgia. Casablanca-born and Marseille-based visual artist Ymane Fakhir (b. 1969) documents this transition with a sense of urgency. In Handmade (2011–12), a series of five minimalist videos titled Grains, Bread, Wheat, Vermicelli, and Sugar Loaf, Fakhir captures her Moroccan grandmother's technical gestures as she transforms raw ingredients into basic staples such as couscous. Documentary, memorandum, archive, narration, and video installation, her five films, like five fingers, record her grandmother's hands at work. The installation recreates her childhood sensorium and memories of her grandmother's nurturing preparations. Likewise, her films function as visual aide-mémoire and collective repository for a new generation of women, including Fakhir's own daughter, who do not (need to) know these techniques. In this article, I ask what type of aesthetic interventions her film segments propose, and which memorial and symbolic goals they achieve. More specifically, in light of Morocco, Algeria, and Tunisia's 2018 common bid to have couscous recognized as UNESCO World Cultural Heritage, I focus on how Fakhir's video installation, compared to institutional projects of heritagization, works to restore the degraded cultural capital of this now transnational and industrialized dish, while speaking to contemporary anxieties about the industrialization of the food system in both Morocco and France.
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Church, J. S., D. G. Martz, and N. J. Cook. "The use of digital video recorders (DVRs) for capturing digital video files for use in both The Observer and Ethovision." Behavior Research Methods 38, no. 3 (August 2006): 434–38. http://dx.doi.org/10.3758/bf03192797.
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Duan, Chao, Jianwen Sun, Kaiqi Li, and Qing Li. "A Dual-Attention Autoencoder Network for Efficient Recommendation System." Electronics 10, no. 13 (June 30, 2021): 1581. http://dx.doi.org/10.3390/electronics10131581.
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Accelerated development of mobile networks and applications leads to the exponential expansion of resources, which causes problems such as trek and overload of information. One of the practical approaches to ease these problems is recommendation systems (RSs) that can provide individualized service. Video recommendation is one of the most critical recommendation services. However, achieving satisfactory recommendation service on the sparse data is difficult for video recommendation service. Moreover, the cold start problem further exacerbates the research challenge. Recent state-of-the-art works attempted to solve this problem by utilizing the user and item information from some other perspective. However, the significance of user and item information changes under different applications. This paper proposes an autoencoder model to improve recommendation efficiency by utilizing attribute information and implementing the proposed algorithm for video recommendation. In the proposed model, we first extract the user features and the video features by combining the user attribute and the video category information simultaneously. Then, we integrate the attention mechanism into the extracted features to generate the vital features. Finally, we incorporate the user and item potential factor to generate the probability matrix and defines the user-item rating matrix using the factorized probability matrix. Experimental results on two shared datasets demonstrates that the proposed model can effectively ameliorate video recommendation quality compared with the state-of-the-art methods.
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Zuo, Chenglin, Yu Liu, Xin Tan, Wei Wang, and Maojun Zhang. "Video Denoising Based on a Spatiotemporal Kalman-Bilateral Mixture Model." Scientific World Journal 2013 (2013): 1–10. http://dx.doi.org/10.1155/2013/438147.
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We propose a video denoising method based on a spatiotemporal Kalman-bilateral mixture model to reduce the noise in video sequences that are captured with low light. To take full advantage of the strong spatiotemporal correlations of neighboring frames, motion estimation is first performed on video frames consisting of previously denoised frames and the current noisy frame by using block-matching method. Then, current noisy frame is processed in temporal domain and spatial domain by using Kalman filter and bilateral filter, respectively. Finally, by weighting the denoised frames from Kalman filtering and bilateral filtering, we can obtain a satisfactory result. Experimental results show that the performance of our proposed method is competitive when compared with state-of-the-art video denoising algorithms based on both peak signal-to-noise-ratio and structural similarity evaluations.
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Lv, Dong Yue, Dong Yan Liu, Zhi Pei Huang, Neng Hai Yu, and Jian Kang Wu. "Video Sequences Foreground Enhancement Using Hidden Markov Model." Advanced Materials Research 989-994 (July 2014): 3872–76. http://dx.doi.org/10.4028/www.scientific.net/amr.989-994.3872.
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Foreground detection is an important part in video surveillance system. The detection results will significantly affect the performance of tracking, abnormal behavior analysis and other following procedures. Many algorithms have been proposed to improve the detection performance. However, these algorithms simply focus on one single frame, ignoring the relationship among the detection results of one target in successive frames. This paper presents a novel foreground enhancement algorithm using Hidden Markov Model (HMM). In a video sequence, one target in successive frames usually has similar shape, size, et al. With this property, the target can be modeled by HMM and enhanced using the result of its prior frame. The observation of HMM is obtained by ViBe. The enhancement result is then estimated by using Maximum A Posteriori (MAP). Experimental results show that compared with the state-of-art algorithm, the proposed method can enhance foreground detection effectively.
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Jin, Guo Dong, Li Bin Lu, and Xiao Fei Zhu. "An Dehazing Algorithm of Lossy Compression Video Image." Advanced Materials Research 850-851 (December 2013): 825–29. http://dx.doi.org/10.4028/www.scientific.net/amr.850-851.825.
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Using dark channel prior to estimate the thickness of the haze , recent research work has made significant progresses in single image dehazing. However , it is difficult to apply existing method for processing high resolution input images because of t he heavy computation cost s of it . For some kinds of input images , existing method still can not reach enough accuracy . we develop a powerful and practical single image dehazing method. The experimental results show our gradient prior of transmission map s greatly reduces t he computation cost s of t he previous method. Furthermore , the optimization methods and parameter adjustment for our novel image prior enhance t he accuracy of the computation related with transmission map. Overall , compared wit h the state of the art , our new single image dehazing method achieves t he same, and even better image quality with only around 1/8 computation time and memory cost .
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Huang, Wenjun, Chao Liang, Chunxia Xiao, and Zhen Han. "Video-Based Person Re-Identification With Unregulated Sequences." International Journal of Digital Crime and Forensics 12, no. 2 (April 2020): 59–76. http://dx.doi.org/10.4018/ijdcf.2020040104.
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Video-based person re-identification (re-id) has recently attracted widespread attentions because extra space-time information and more appearance cues in videos can be used to improve the performance of image-based person re-id. Most existing approaches equally treat person video images, ignoring their individual discrepancy. However, in real scenarios, captured images are usually contaminated by various noises, especially occlusions, resulting in a series of unregulated sequences. Through investigating the impact of unregulated sequences to feature representation of video-based person re-id, the authors find a remarkable promotion by eliminating noisy sub sequences. Based on this interesting finding, an adaptive unregulated sub sequence detection and refinement method is proposed to purify original video sequence and obtain a more effective and discriminative feature representation for video-based person re-id. Experimental results on two public datasets demonstrate that the proposed method outperforms the state-of-the-art work.
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EWERTH, RALPH, MARKUS MÜHLING, and BERND FREISLEBEN. "SELF-SUPERVISED LEARNING OF FACE APPEARANCES IN TV CASTS AND MOVIES." International Journal of Semantic Computing 01, no. 02 (June 2007): 185–204. http://dx.doi.org/10.1142/s1793351x0700010x.
Full textAbstract:
Retrieving information about the occurrences of persons in a video is an important task in many video indexing and retrieval applications. The problem is to answer the question "In which shots and scenes does person X appear?". In this paper, we present an automatic video annotation system with respect to a person's appearance based on state-of-the-art algorithms for face detection, tracking and recognition. In contrast to many related approaches, knowledge about the persons in a given video is not assumed in advance. Adaboost is employed after an initial clustering of faces to select the best features describing a person's face. These features are then used to train new classifiers based only on the faces extracted from the video under consideration. Several possibilities to train Adaboost and Support Vector Machine (ensemble) classifiers directly on a video are compared. Finally, experimental results demonstrate the effectiveness of correcting in-plane face rotation and of the employed self-supervised learning method.