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Journal articles on the topic 'Video-Portrait'
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Jiang Li, Keman Yu, Tielin He, Yunfeng Lin, Shipeng Li, and Ya-Qin Zhang. "Scalable portrait video for mobile video communication." IEEE Transactions on Circuits and Systems for Video Technology 13, no. 5 (May 2003): 376–84. http://dx.doi.org/10.1109/tcsvt.2003.811611.
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Fiss, Juliet, Aseem Agarwala, and Brian Curless. "Candid portrait selection from video." ACM Transactions on Graphics 30, no. 6 (December 2011): 1–8. http://dx.doi.org/10.1145/2070781.2024162.
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Wang, Yifan, Wenbo Zhang, Lijun Wang, Fenghua Yang, and Huchuan Lu. "Temporal consistent portrait video segmentation." Pattern Recognition 120 (December 2021): 108143. http://dx.doi.org/10.1016/j.patcog.2021.108143.
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Liang, Dongxue, Kyoungju Park, and Przemyslaw Krompiec. "Facial Feature Model for a Portrait Video Stylization." Symmetry 10, no. 10 (September 28, 2018): 442. http://dx.doi.org/10.3390/sym10100442.
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With the advent of the deep learning method, portrait video stylization has become more popular. In this paper, we present a robust method for automatically stylizing portrait videos that contain small human faces. By extending the Mask Regions with Convolutional Neural Network features (R-CNN) with a CNN branch which detects the contour landmarks of the face, we divided the input frame into three regions: the region of facial features, the region of the inner face surrounded by 36 face contour landmarks, and the region of the outer face. Besides keeping the facial features region as it is, we used two different stroke models to render the other two regions. During the non-photorealistic rendering (NPR) of the animation video, we combined the deformable strokes and optical flow estimation between adjacent frames to follow the underlying motion coherently. The experimental results demonstrated that our method could not only effectively reserve the small and distinct facial features, but also follow the underlying motion coherently.
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Podvolotskiy, I. N. "Preliminary Study of Video Images of Humans in Portrait Examination." Actual Problems of Russian Law, no. 9 (October 5, 2019): 115–22. http://dx.doi.org/10.17803/1994-1471.2019.106.9.115-122.
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The paper discusses the promising trends of a preliminary study of a person’s appearance captured using video recording devices. A characteristic of the preliminary study of the portrait data storage device seized during the inspection of the accident location is a sequential study of their external characteristics and internal content in order to further solve diagnostic problems aimed at establishing the characteristics of the surveying, image quality, and lack of signs of changing the initial content of the video or photo image. To date, the possibility of diagnosing human characteristics by age, physique, clothing, and manner of walking is being studied. According to the results of the analysis of scientific literature and practical activities of experts, it can be concluded that it is necessary to improve the methodology of portrait examination by including computer technologies for studying surveying parameters and signs of possible interference with the recording integrity. At the same time, to effectively identify the characteristics and states of people’s appearance transmitted by means of modern storage devices of portrait images, it is important that a team of experts conduct a comprehensive study of the images taking into account the knowledge in anatomy, anthropology, forensic medicine, computer technology, mathematical modeling, etc.
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Chen, Yao, Ao Chen, Zhiwei Jiang, and Jianfu Zhong. "Surveillance Video Portrait Recognition Preprocessing Technology for Police Actual Combat." Open Journal of Applied Sciences 09, no. 05 (2019): 394–402. http://dx.doi.org/10.4236/ojapps.2019.95033.
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Brečević, Geska Helena, and Robert Brečević. "Verfünfungseffekt: Delving into the Enchanted World of Fivefold-portraits and Self-partitioning." Magic, Vol. 5, no. 1 (2020): 66–71. http://dx.doi.org/10.47659/m8.066.ess.
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Discovered during a media-archeological investigation into optical illusions, trick photography, and discarded memorabilia, the photo-multigraph technique opened the door to an enchanted world of cloned appearances orbiting in a self-reflective solar system. Shapeshifting into our preferred artistic medium, this turn-of-the-century photographic technique becomes the video-multigraph. It is bizarrely noteworthy that self-isolation would become not only the subject of the piece, but also – due to the unforeseen spread of a recently mutated virus – the prevailing circumstances under which the work was to be completed. In Verfünfungseffekt, we use the medium of video to create a kaleidoscopic portrait-in-motion where the perspective-shifting shards of ego are recorded in a synchronized performance of solipsist intersubjectivity. The video-multigraph allows for the compositing of tiny offsets in time-shifting delays applied to one, or several, of the mirrored selves – shattering the cloned perfection, as well as the conformity, of the multiple presences. This optical illusion necessitates reflection on how media alters our perceptions of time and space; it thereby arouses wonder about our place in existence. Keywords: Photo-multigraph, fivefold-portrait, mirror photography, video-multigraph, crisis of presence
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Kim, Yong-Woon, Yung-Cheol Byun, and Addapalli V. N. Krishna. "Portrait Segmentation Using Ensemble of Heterogeneous Deep-Learning Models." Entropy 23, no. 2 (February 5, 2021): 197. http://dx.doi.org/10.3390/e23020197.
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Image segmentation plays a central role in a broad range of applications, such as medical image analysis, autonomous vehicles, video surveillance and augmented reality. Portrait segmentation, which is a subset of semantic image segmentation, is widely used as a preprocessing step in multiple applications such as security systems, entertainment applications, video conferences, etc. A substantial amount of deep learning-based portrait segmentation approaches have been developed, since the performance and accuracy of semantic image segmentation have improved significantly due to the recent introduction of deep learning technology. However, these approaches are limited to a single portrait segmentation model. In this paper, we propose a novel approach using an ensemble method by combining multiple heterogeneous deep-learning based portrait segmentation models to improve the segmentation performance. The Two-Models ensemble and Three-Models ensemble, using a simple soft voting method and weighted soft voting method, were experimented. Intersection over Union (IoU) metric, IoU standard deviation and false prediction rate were used to evaluate the performance. Cost efficiency was calculated to analyze the efficiency of segmentation. The experiment results show that the proposed ensemble approach can perform with higher accuracy and lower errors than single deep-learning-based portrait segmentation models. The results also show that the ensemble of deep-learning models typically increases the use of memory and computing power, although it also shows that the ensemble of deep-learning models can perform more efficiently than a single model with higher accuracy using less memory and less computing power.
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Ryan, Kathleen M. "Vertical video: rupturing the aesthetic paradigm." Visual Communication 17, no. 2 (October 28, 2017): 245–61. http://dx.doi.org/10.1177/1470357217736660.
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Popular culture has critiqued ‘vertical video syndrome’, or video shot on smartphones in the portrait rather than landscape orientation, as something aesthetically unpleasing which should be avoided. But the design of smartphones seems to encourage shooting vertical video. This article examines the aesthetic desirability of vertical videos through applied media aesthetics. It traces the history of horizontal film and television orientations, as well as the image-centric orientation model found in still photography. It argues that vertical video, rather than a syndrome to be avoided, instead takes advantage of the technological innovations and embodied pleasures offered by the smartphone to rupture the visual paradigms and create a new visual aesthetic for phone-based moving images.
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Grier, David Alan. "Video review: N is a Number. A portrait of Paul Erdős." Endeavour 24, no. 4 (December 2000): 177. http://dx.doi.org/10.1016/s0160-9327(00)01320-x.
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Yu, K., Jiang Li, Cuizhu Shi, and Shipeng Li. "A novel model-based rate-control method for portrait video coding." IEEE Transactions on Circuits and Systems for Video Technology 15, no. 12 (December 2005): 1545–56. http://dx.doi.org/10.1109/tcsvt.2005.857310.
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Mukhammadjonova, Guzalkhan. "PSYCHOLOGICAL ANALYSIS FROM PORTRAIT." CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES 02, no. 05 (May 31, 2021): 79–84. http://dx.doi.org/10.37547/philological-crjps-02-05-18.
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The article examines the issue of the portrait of a creative person and its role in psycho-psychological analysis on the basis of the interpretation in literature of the great thinker, sheikh, a great representative of mystical literature, the poet Ahmad Yassaviy. Methods of creating portraits and experiments in this area are interpreted on the form of comparative-analytical method. The combination of images of the hero and his biography highlights the creative human psyche. The monologues, in particular, highlight the artistic-aesthetic and artistic-conceptual role of monologue-memory and monologue-video in illuminating the heroic spiritual-psychological world.
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Peixoto, Clarice E. "The photo in the Ffilm: public and private collections in video-portrait." Vibrant: Virtual Brazilian Anthropology 9, no. 2 (December 2012): 344–60. http://dx.doi.org/10.1590/s1809-43412012000200013.
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This article discusses the inclusion of photographs in ethnographic films, particularly in the genre video portrait. In the reconstitution of an individual's history, photographic images play an important role in the evocation of past facts that often remain only as fragments of memory. When examining personal collections and public archives, we prospect for photographic and iconographic images that allow usto construct possible relationships between collective and individual memories.
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Blohm, Werner. "Video dynamic range compression of portrait images by simulated diffuse scene illumination." Optical Engineering 35, no. 1 (January 1, 1996): 255. http://dx.doi.org/10.1117/1.600893.
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Becker, Karin, and Geska Helena Brečević. "More Than a Portrait: Framing the Photograph as Sculpture and Video Animation." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 48–55. http://dx.doi.org/10.47659/m5.048.art.
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This essay traces the resurrection of the fotoescultura, a three-dimensional photographic portrait popular in rural Mexico in the early 20th century, as interpreted in recent works by Performing Pictures, a contemporary Swedish artist duo. The early fotoesculturas were an augmented form of portraiture, commissioned by family members who supplied photographs that artisans in Mexico City converted into framed sculptural portraits for display on family altars. We compare these »traditional« photographic objects with “new” digital forms of video animation on screen and in the public space that characterize Performing Pictures work, and explore how the fotoescultura inspired new incarnations of their series Men that Fall. At the intersection between the material aspects of a “traditional” vernacular art form and “new” media art, we identify a photographic aesthetic that shifts from seeing and perceiving to physical engagement, and discuss how the frame and its parergon augment the photographic gaze. The essay is accompanied by photos and video stills from Performing Pictures’ film poem Dreaming the Memories of Now (2018), depicting their work with the fotoesculturas. Keywords: fotoesculturas, frame, parergon, vernacular photography, videoart
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Mee, Erin B. "Hearing the Music of the Hemispheres." TDR/The Drama Review 57, no. 3 (September 2013): 148–50. http://dx.doi.org/10.1162/dram_a_00284.
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Music of the Hemispheres is a concert, a film, a portrait, an improv, and a performed (neural) performance analysis that offers new ways of thinking about perception, spectatorship, and the brain. TDR's first born-digital multimodal article incorporates film, video, and audio clips that are integrated in, and central to, the argument.
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Su, Xin, Lijun Xiao, Wenjia Li, Xuchong Liu, Kuan-Ching Li, and Wei Liang. "DroidPortrait: Android Malware Portrait Construction Based on Multidimensional Behavior Analysis." Applied Sciences 10, no. 11 (June 8, 2020): 3978. http://dx.doi.org/10.3390/app10113978.
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Recently, security incidents such as sensitive data leakage and video/audio hardware control caused by Android malware have raised severe security issues that threaten Android users, so thus behavior analysis and detection research researches of malicious Android applications have become a hot topic. However, the behavioral portrait of Android malware that can depict the behavior of Android malware is not approached in previous literature. To fill this gap, we propose DroidPortrait, an Android malware multi-dimensional behavioral portrait construction approach. We take the behavior of Android malware as an entry point and extract an informative behavior dataset that includes static and dynamic behavior from Android malware. Next, aiming at Android malware that contains different kinds of behaviors, a behavioral tag is defined then combined with a machine learning (ML) algorithm to implement the correlation of these behavioral tags. Android malware behavioral portrait architecture based on behavior analysis and its design is investigated, as also an optimized random forest algorithm is conceived then combined with Android malware behavioral portrait to detect Android malware. The evaluation findings indicate the DroidPortrait can depict behavioral characteristics of Android malware comprehensive and detect them with high performance.
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Armand, Claudine. "Visual, Aural, and Temporal Traces in Lorna Simpson’s Phototexts and Installations." Kronoscope 14, no. 2 (August 26, 2014): 163–79. http://dx.doi.org/10.1163/15685241-12341303.
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Drawing on visual and linguistic theories, this article examines the interplay of time and trace in contemporary artist Lorna Simpson’s handling of the portrait genre in her phototexts and video installations. I examine first the concept of trace in relation to the photographic medium and to the artist’s conceptual approach and study the way text and image interact in a contrapuntal and often dissonant way. Then I focus on two video installations to highlight the fragmentary, repetitive, and elliptical quality of Simpson’s multimedia practices and to put forward the fluctuating status of the concept of trace understood as transient, unstable, and indeterminate.
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Martin, Jean-René. "A portrait of locomotor behaviour in Drosophila determined by a video-tracking paradigm." Behavioural Processes 67, no. 2 (September 2004): 207–19. http://dx.doi.org/10.1016/j.beproc.2004.04.003.
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Tsoi, Yu A., V. E. Lyubimov, L. D. Saginov, V. V. Kirsanov, M. E. Golovkin, and N. P. Mishurov. "Development of a Mobile Integrated System for Thermal Imaging Videodigital Diagnostics of Cow Diseases." Machinery and Equipment for Rural Area, no. 6 (June 25, 2021): 23–28. http://dx.doi.org/10.33267/2072-9642-2021-6-23-28.
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The principles of creating a mobile integrated system for thermal imaging video-digital diagnostics of cow diseases, a block diagram of a mobile integrated system and a sequence of operations are described. The parameters of thermal imaging equipment for detecting temperature anomalies have been determined. Methods of segmentation of thermal images, histogram analysis and new methods of phase portrait analysis are selected. The features of the formation and processing of thermal images for monitoring inflammatory processes in animals have been determined.
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Woodward, Kathleen. "The Feeling of Freedom, Planetary Affect, and Feminist Emotion." Feminist Media Histories 7, no. 2 (2021): 65–91. http://dx.doi.org/10.1525/fmh.2021.7.2.65.
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Video artist Cecelia Condit’s recent work offers a rich visual and sonic poetics of feeling, engaging multiple varieties of sensation, affect, and emotion. Drawing on Erin Manning’s theory of preacceleration, this essay provides a close reading of Condit’s beguiling Within a Stone’s Throw (2012) as an environmental piece and in the context of her other work and her life. It argues that Condit’s solitary video work in Ireland’s rocky region resulted in a feeling of freedom that not only enabled her to create Within a Stone’s Throw—part environmental artwork, part performance piece, part impersonal self-portrait—but also served as a catalyst for feminist emotion that explodes in triumph in I’ve Been Afraid (2020). Paradoxically, then, in Within a Stone’s Throw we find the emergence of “planetary affect,” a mode of being on Earth that doesn’t center human subjectivity in forceful psychological and social emotions, but does enable them.
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Mazzella, Anthony J. "An "attendance upon . . . gentlemen": The B.B.C. Video Adaptation of The Portrait of a Lady." Henry James Review 14, no. 2 (1993): 179–87. http://dx.doi.org/10.1353/hjr.2010.0340.
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Horváth, Gábor, József Gál, István Pomozi, and Rüdiger Wehner. "Polarization Portrait of the Arago Point: Video-polarimetric Imaging of the Neutral Points of Skylight Polarization." Naturwissenschaften 85, no. 7 (July 27, 1998): 333–39. http://dx.doi.org/10.1007/s001140050510.
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Arsenault, Dominic, and Louis-Martin Guay. "Exploration, colonisation et développement durable." Le jeu vidéo au Québec 14, no. 23 (July 8, 2021): 36–54. http://dx.doi.org/10.7202/1078727ar.
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In this article, we will sketch a historical portrait of the video game sector in Quebec, both on the geographical plane (from Montreal to Quebec City through Trois-Rivières and other off-centred studios) and for different firm types (from the large studios to independent developers and amateurs). This historical overview will shed light on the challenges and characteristics of this sector which straddles both the technology and cultural industries in three stages : 1) the explorations of amateur entrepreneurs and enthusiasts; 2) the colonisation by large foreign firms and the injection of foreign capital which stimulated industry growth; 3) the structuration of independent developers (notably with La Guilde du jeu video du Québec) and the post-fission transition to a sustainable development of the sector. Our overview will cover the factual aspects of the industry, issues of contents and creative processes, and the challenges of achieving cultural sovereignty in a business sector based on liberalized markets, the free flow of capital, and a dematerialized digital economy.
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Texler, Aneta, Ondřej Texler, Michal Kučera, Menglei Chai, and Daniel Sýkora. "FaceBlit." Proceedings of the ACM on Computer Graphics and Interactive Techniques 4, no. 1 (April 26, 2021): 1–17. http://dx.doi.org/10.1145/3451270.
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We present FaceBlit---a system for real-time example-based face video stylization that retains textural details of the style in a semantically meaningful manner, i.e., strokes used to depict specific features in the style are present at the appropriate locations in the target image. As compared to previous techniques, our system preserves the identity of the target subject and runs in real-time without the need for large datasets nor lengthy training phase. To achieve this, we modify the existing face stylization pipeline of Fišer et al. [2017] so that it can quickly generate a set of guiding channels that handle identity preservation of the target subject while are still compatible with a faster variant of patch-based synthesis algorithm of Sýkora et al. [2019]. Thanks to these improvements we demonstrate a first face stylization pipeline that can instantly transfer artistic style from a single portrait to the target video at interactive rates even on mobile devices.
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Pandya, Jessica Zacher, Nat Hansuvadha, and Kathleah Allene Consul Pagdilao. "Digital literacies through an intersectional lens: the case of Javier." English Teaching: Practice & Critique 17, no. 4 (November 12, 2018): 387–99. http://dx.doi.org/10.1108/etpc-11-2017-0158.
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Purpose The purpose of this paper is to examine, through an intersectional lens, how digital video composing can be an act of redistributive social justice for students with learning disabilities. Design/methodology/approach The authors draw on two years’ worth of observation, interview, survey and digital video data to present a case study of Javier (all names are pseudonyms), a Latinx English Learner with several learning disabilities. The authors worked with him, making digital videos in a general education classroom as part of a larger design-based study. The authors describe how he made meaning in various modes, across modes, and how his intersectional identities inflected his meaning-making and were visible in his video artifacts. Findings Javier was an able digital composer, made meaning across modes and was attentive to audience. His videos offer a portrait of a child with learning disabilities navigating his complex cultural worlds. Research limitations/implications This is a single case study built to bridge multiple theoretical and disciplinary backgrounds. Javier was able to compose semiotically powerful messages with socially powerful digital tools. Originality/value The authors argue that the use of such tools is a chance for redistributive social justice. Children traditionally underserved by innovations in digital making should not be left out.
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Drew, Jesse, and Glenda Drew. "Algorithmic cinema and collective memory." Novos Olhares 9, no. 1 (July 9, 2020): 13–20. http://dx.doi.org/10.11606/issn.2238-7714.no.2020.171984.
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The Pixeldust project is a contributory, interactive video/audio/text engine that can be output to many different forms of exhibition. It is conceived of as a form of algorithmic filmmaking, that blends the aesthetics and visual power of cinema with the flexibility and mutability of computer programming. Written in the Processing language, the Pixeldust engine accepts photographic portraits, disassembles them into component pixels and particles that lie like dust in the bottom of the projected screen, then dramatically sweeps them up and crystallizes them into a complete portrait accompanied by the spoken word attributed to the portrayed person. Pixeldust is a platform that encourages individuals and communities to share their own examples of inspirational people.
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Silvey, Brian A., Mark Montemayor, and Christopher M. Baumgartner. "An Observational Study of Score Study Practices Among Undergraduate Instrumental Music Education Majors." Journal of Research in Music Education 65, no. 1 (February 15, 2017): 52–71. http://dx.doi.org/10.1177/0022429416688700.
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The purpose of this study was to investigate undergraduate instrumental music education majors’ score study practices as they related to the effectiveness of their simulated conducting. Participants ( N = 30) were video recorded in two sessions in which they completed a 20-min score study session and a simulated conducting performance. In the first score study session, all 30 conductors studied Mini-Suite for Band, Movement 1. In Session 2, participants studied Portrait of a Clown but this time either with a model recording ( n = 15) or without one ( n = 15). We computed the overall duration of participants’ score study behaviors for both pieces. Additional data included graduate students’ evaluations of participants’ post–score study conducting performances and an inventory of participants’ score study markings. We found a significant difference in the proportion of time spent in score studying activities between the model and no-model condition conductors, with more time spent in gesturing when studying along with a model. Evaluations of participants’ conducting revealed no differences between those conductors who used a model and those who did not while studying Portrait of a Clown. Our analysis of conductors’ score markings revealed a small number of notable differences between stronger/weaker conductors and between model/no-model conditions. Implications for undergraduate conductor preparation programs are discussed.
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Handley, Agata. "Representing Absence: Contemporary Ekphrasis in “Apesh-t”." Text Matters, no. 10 (November 24, 2020): 118–43. http://dx.doi.org/10.18778/2083-2931.10.07.
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Traditionally, ekphrasis has been defined as the description and analysis of works of art in poetry, and so it has been understood as the verbalization of visual images (Sager Eidt). The article examines the concept in the light of contemporary definitions that include non-verbal media as targets (Cariboni Killander, Lutas and Strukelj; Sager Eidt; Bruhn; Pethö) in order to analyze its applicability to music videos.
It concentrates in particular on “Apesh-t,” a video for a track by Beyoncé and Jay-Z from the album Everything Is Love (2018). The video is filmed in different interiors of the Louvre, where the singers appear, together with an ensemble of dancers, in front of selected artworks. The discussion focuses on an analysis of a single shot which presents an ekphrastic re-configuration of one particular work of European art, Jacques-Louis David’s Portrait of Madame Récamier (1800).
The author argues that the use of ekphrasis in the video—through elaboration (close-ups and editing) and repurposing of the source material (painting)—plays an important role in the construction of the theme of “absence”: invoking not only what is represented, but what is not represented in David’s painting. It also foregrounds the potential of ekphrasis as a tool of political and cultural resistance, in the way it intervenes in the representation of the “other” in art and in the museum space.
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Brilianti, Dani Fitria, and Hana Yulinda Fithriyani. "The Implementation of Video Blog (Vlog) as a Teaching Media in Speaking Skill." JETL (Journal of Education, Teaching and Learning) 5, no. 2 (September 30, 2020): 340. http://dx.doi.org/10.26737/jetl.v5i2.1945.
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<p>The use of appropriate media in the learning and teaching process especially in teaching speaking is quite important for the lecturers to have students' the best result. The video blog (Vlog) is one of the media that commonly used by lecturers in teaching speaking English to gain students' motivation in speaking. The main aim of this study is to investigate the lecturer's strategy in implementing video blog as a media in teaching speaking. Besides, it is also to identify the difficulties of vlog implementation in teaching speaking. To achieve the objectives, the descriptive qualitative approach in the form of a case study was chosen as the method of the research. Observation and interview were collected as the data to the class 2A, a second-semester student of Computer Engineering Students of Politeknik Harapan Bersama, Tegal, Indonesia. The data from classroom observation were obtained from activity portrait, video recording, students and lecturers' notes, and interview during observation. The data analysis presented by using descriptive explanation, and the data result from lecturers' interview were summarized by using the table and described based on the phenomenon that found during the observation. The finding of data showed that the lecturer applied task-based learning to implement vlog in speaking skill. The lecturers did not only show the vlog to the students in teaching speaking as the media but also asked them to make it by their selves and uploaded it to the YouTube Channel as the new references of English vlog. Lecturers began the learning and teaching process with pre tasks: introduction, review to the previous material; then continued to the main tasks: showing the model/media, giving task, and discussion; and closed by the post-task: evaluation and feedback. Moreover, the difficulties faced by the lecturers in implementing vlog in teaching speaking were a distinct range of students' English scores especially in speaking, the improper gadget that owns by the students’ to make the video blog, and lack of students’ creativity in building the video blog content to make it interesting to be watched. In line with the previous studies, which stated that video blog is interesting and it can improve students' speaking skill effectively.</p>
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Arcoba Alpuente, María Dolores. "Estudiar las posibilidades del autorretrato personal en la enseñanza secundaria." eari. educación artística. revista de investigación, no. 10 (December 20, 2019): 223. http://dx.doi.org/10.7203/eari.10.14331.
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Resumen: En este artículo se presenta una experiencia artística realizada en diez centros de enseñanza secundaria de L’Horta Nord y Camp de Morvedre (València) sobre los procesos de construcción identitaria mediante actitudes artísticas contemporáneas, en este caso, a través del videoarte. Utilizando la Investigación educativa basada en las artes (Arts Based Educational Research) se ha llevado a término la realización y posterior análisis interpretativo de todas las producciones videográficas fundamentadas en el autorretrato tradicional, por tanto, han conformado unos resultados muy interesantes que inducen a reflexionar sobre la utilización y desarrollo de estos nuevos géneros contemporáneos dentro del área de educación artística de los centros educativos. Dentro de esta investigación la creación de las nuevas narrativas audiovisuales como lenguaje artístico en el ámbito escolar abarca gran relevancia. Consideramos la utilización del vídeo como vehículo para la creación de imágenes que al mismo tiempo funciona como herramienta de trabajo imprescindible para la reflexión, indagación y análisis. Además se constituye como un procedimiento para cuestionar y criticar la imagen sistemática.
Palabras clave: narrativa audiovisual, autorretrato, identidad, educación artística, enseñanza secundaria.
Abstract: This article presents an artistic experience in ten secondary schools of L'Horta Nord and Camp de Morvedre (València) on the processes of construction of personal identities through contemporary artistic attitudes, in this case, through video art. Using the Arts Based Educational Research (Arts Based Educational Research), the completion and subsequent interpretative analysis of all the videographic productions based on the traditional self-portrait have been completed, therefore, they have shaped very interesting results that lead us to reflect on the use and development of these new contemporary genres within the area of artistic education of educational centers. Within this investigation the creation of the new audiovisual narratives as artistic language in the school environment encompasses great relevance. We consider the use of video as a vehicle for the creation of images that at the same time works as an essential work tool for reflection, inquiry and analysis. It is also constituted as a procedure to question and criticize the systematic image.
Keywords: audiovisual narrative, self-portrait, identity, artistic education, secondary education.
DOI: http://dx.doi.org/10.7203/eari.10.14331
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Muñoz-Basols, Javier, and Marina Massaguer Comes. "Social Criticism through Humour in the Digital Age." European Comic Art 11, no. 1 (March 1, 2018): 107–28. http://dx.doi.org/10.3167/eca.20178110107.
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Numerous authors of comics and graphic novels have used the economic crisis in the Iberian Peninsula as a narrative frame for social criticism. Prominent amongst them is the Catalan cartoonist Aleix Saló, who burst onto the comics scene with his animated YouTube video Españistán, a book trailer for his graphic novel Españistán: Este país se va a la mierda [Españistán: This country is going to hell] (2011). This article shows how Saló offers a humorous and didactic portrait of the devastating effects of the economic crisis: he does this through multimodality (using specific shapes, colours, fonts and components of orality) and through creating ‘multimodal extensions’, intertextual relations between published books and book trailers. This analysis presents a case study of the multimodal techniques that authors use to shape and develop their work in the context of the powerful relationship between text and image in the digital age.
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Muñoz-Basols, Javier, and Marina Massaguer Comes. "Social Criticism through Humour in the Digital Age." European Comic Art 11, no. 1 (March 1, 2018): 107–28. http://dx.doi.org/10.3167/eca.2018.110107.
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Numerous authors of comics and graphic novels have used the economic crisis in the Iberian Peninsula as a narrative frame for social criticism. Prominent amongst them is the Catalan cartoonist Aleix Saló, who burst onto the comics scene with his animated YouTube video Españistán, a book trailer for his graphic novel Españistán: Este país se va a la mierda [Españistán: This country is going to hell] (2011). This article shows how Saló offers a humorous and didactic portrait of the devastating effects of the economic crisis: he does this through multimodality (using specific shapes, colours, fonts and components of orality) and through creating ‘multimodal extensions’, intertextual relations between published books and book trailers. This analysis presents a case study of the multimodal techniques that authors use to shape and develop their work in the context of the powerful relationship between text and image in the digital age.
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Muñoz-Basols, Javier, and Marina Massaguer Comes. "Social Criticism through Humour in the Digital Age." European Comic Art 11, no. 1 (March 1, 2018): 107–28. http://dx.doi.org/10.3167/eca.2018110107.
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Numerous authors of comics and graphic novels have used the economic crisis in the Iberian Peninsula as a narrative frame for social criticism. Prominent amongst them is the Catalan cartoonist Aleix Saló, who burst onto the comics scene with his animated YouTube video Españistán, a book trailer for his graphic novel Españistán: Este país se va a la mierda [Españistán: This country is going to hell] (2011). This article shows how Saló offers a humorous and didactic portrait of the devastating effects of the economic crisis: he does this through multimodality (using specific shapes, colours, fonts and components of orality) and through creating ‘multimodal extensions’, intertextual relations between published books and book trailers. This analysis presents a case study of the multimodal techniques that authors use to shape and develop their work in the context of the powerful relationship between text and image in the digital age.
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Mukhopadhyay, Prabir. "Ergonomic Design Issues in Icons Used in Digital Cameras in India." International Journal of Art, Culture and Design Technologies 3, no. 2 (July 2013): 51–62. http://dx.doi.org/10.4018/ijacdt.2013070104.
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This paper investigates the usability of five commonly used icons in digital cameras like landscape, video, night portrait and automatic mode. In the first phase a set of 10 open type questionnaires were applied on 110 students (75 male and 35 female) to get an insight into the type of problems with the icons. The second phase comprised of 5 ranking questionnaire. The third phase comprised of icon comprehension test for getting to know the stereotype strength of the different icons. The fourth phase was stereotypy test. The second and third phases were applied on 32 students (16 male and 16 females.). For each category of icons there was one icon which was rated best and comprehended very well. For example the icon for landscape mode which represented a mountain was ranked as the best and the stereotype strength for the same was 90.6%.
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Arsintescu, Lucia, Jeffrey B. Mulligan, and Erin E. Flynn-Evans. "Evaluation of a Psychomotor Vigilance Task for Touch Screen Devices." Human Factors: The Journal of the Human Factors and Ergonomics Society 59, no. 4 (January 17, 2017): 661–70. http://dx.doi.org/10.1177/0018720816688394.
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Objective: Our goals were to compare three techniques for performing a psychomotor vigilance task (PVT) on a touch screen device (fifth-generation iPod) and to determine the device latency. Background: The PVT is a reaction-time test that is sensitive to sleep loss and circadian misalignment. Several PVT tests have been developed for touch screen devices, but unlike the standard PVT developed for laboratory use, these tests allow for touch responses to be recorded at any location on the device, with contact from any finger. In addition, touch screen devices exhibit latency in processing time between the touch response and the time registered by the device. Method: Thirteen participants completed a 5-min PVT on a touch screen device held in three positions (on a table with index finger, handheld portrait with index finger, handheld landscape with thumb). We compared reaction-time outcomes in each orientation condition using paired t tests. We recorded the first session using a high-speed video camera to determine the latency between the touch response and the documented response time. Results: The participants had significantly faster reaction times in the landscape-oriented position using the thumb, compared with the portrait-oriented position using the index ( M = 224.13 and M = 244.26, p = .045). Using data from 1,241 unique touch events, we found a mean device latency of 68.53 ms that varied highly between individuals. Conclusion: Device orientation and device latency should be considered when using a touch screen version of a PVT. Application: Our findings apply to researchers administering touch screen versions of the PVT.
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Pedko, K. "CURRENT STAGE OF DEVELOPMENT OF PERSONALITY IDENTIFICATION EXAMINATION BASED ON APPEARANCE (FACIAL IDENTIFICATION)." Criminalistics and Forensics, no. 66 (2021): 849–60. http://dx.doi.org/10.33994/kndise.2020.66.63.
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The article presents the results of a theoretical analysis of the current state of examination of personality identification based on appearance. The question of changing the object of research in the specified examination was raised. It has been established that with the development of digital technologies, multi-angle facial images began to prevail as an object of research, and studies of video recordings are widespread. The different position of the head in the studied images led to the impossibility of using a significant number of comparative research methods: alignment along the medial line, alignment along a broken line, image editing, applications, “masks”, overlaying translucent images, comparison of relative values, overlay of coordinate grids, construction of geometric shapes. The transformation of research objects necessitates a change in the methods of comparative research. It is indicated that with the proliferation of video images, the identification capabilities of the examination have increased: an expert can examine images of an identifiable person on the entire video sequence. A common disadvantage of video recordings is image quality. For research, video recordings from external video surveillance cameras are often received, but the purpose of installing such cameras is to fix the environment, and not the faces of people. This explains the poor image quality. A frequent problem in carrying out examinations for the identification of a person by signs of appearance is the “recognition effect”. At the first glance at the image, one may get the impression that it is suitable for identification in the framework of portrait examination. However, this impression is most often mistaken. Often people have a sense of the obviousness of the image of a particular person in the frame if they have experience of interaction with this person. In addition, upon a detailed study of the image, an expert may conclude that it is unusable. The captured signs of appearance do not always constitute the necessary complex for the possibility of conducting research. The current state of examination in identifying a person based on appearance suggests the need to develop comparison methods that could take into account the difference in the angles of the people under study. These methods include a graphical identification algorithm, a method of dimensional ratios of individual elements of appearance, and mathematical research methods. Further development in these areas is promising for expanding the possibilities of carrying out facial identification.
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Karpov, S. Yu, and V. V. Sadovsky. "PECULIARITIES OF INVESTIGATION OF CRIMINAL CASES ASSOCIATED WITH ARSONS." Juridical Journal of Samara University 6, no. 4 (December 27, 2020): 126–30. http://dx.doi.org/10.18287/2542-047x-2020-6-4-126-130.
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The article discusses some of the features of the investigation of criminal cases involving arson. Recommendations are given for the officers of the investigative-operational groups when planning further actions at the initial stage of the investigation of arson. The questions about the influence on the detection rate of the promptness of arrival to the place of the fire of the investigator (interrogator), about the features of collecting information at the place of the fire are touched upon. Obtaining information on the basis of special knowledge, allowing to formulate a search plan for the alleged offender and his criminological personality portrait. With the development of new technologies, for the efficiency of obtaining information from a specialist (expert) in the investigation of arson, it is necessary to use the technology of immersive telepresence (video presence). This allows for a better inspection of the crime scene in the absence of an expert (specialist) directly on the spot. The use of electronic databases and the use of modern means of communication also contribute to solving crimes related to arson hot on the trail.
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McGrew, W. C. "Review ofliving with chimpanzees: Portrait of a family, video by Flavia Fontes. New York: Filmmakers library, 1995. 52 minutes, sale $295, rental $75." American Journal of Primatology 41, no. 3 (1997): 261–62. http://dx.doi.org/10.1002/(sici)1098-2345(1997)41:3<261::aid-ajp7>3.0.co;2-v.
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Walsh, Michael. "Happiness is Not Fun: Godard, the 20th Century, and Badiou." Journal of French and Francophone Philosophy 18, no. 2 (January 28, 2010): 29–42. http://dx.doi.org/10.5195/jffp.2010.211.
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"Godard is the most contemporary of directors, one who has never set a film in the past. Yet since the 1990s he has produced a whole cycle of works whose tones are retrospective, memorial, elegaic. These include JLG/JLG:Auto-portrait du Décembre (1995), the much-discussed Histoire(s) du Cinèma (begun in 1988, completed in 1998) 2 x 50 Years of French Cinema (commissioned by the BFI for the centennial of cinema in 1995), The Old Place (commissioned by the Museum of Modern Art in 1999), On the Origin of the Twenty-First Century (commissioned by the Cannes Film Festival for the year 2000), Dans Le Noir du Temps (a contribution to the 2002 compilation film Ten Minutes Older), and the 2006 Centre Pompidou exhibition “Travels in Utopia.” This last was a retrospective in the conventional sense (screenings of four decades worth of film and video by Godard, Godard/Gorin, Godard/Mièville, etc), but was also retrospective as an installation, divided into three spaces identified as hier, l’avant-hier, and aujourd’hui (yesterday, the day before yesterday, and today), with tomorrow notable for its absence..."
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Turpie, Edward Jonathan. "Drawing Ed Ruscha." Drawing: Research, Theory, Practice 5, no. 2 (December 1, 2020): 291–303. http://dx.doi.org/10.1386/drtp_00038_1.
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This project aims to discuss drawing as a method of bridging the void between digital imaging technologies and physical drawing in the fine art domain. It does so by investigating the role of drawing and printing in contemporary portraiture. Drawn and printed silkscreen portraits are made from a synthesis of graphite marks, digital pixels and water-based ink deposited on paper surfaces. The practice-led research described here explores the materiality of the emergent image when drawing is impressed on an electronic media trace. This investigation is timely in the context of the unprecedented impact of digital technologies on contemporary culture that tend to displace the physicality of drawing. By taking an approach to portraiture whereby artist and sitter do not meet in person, the project initiates a portrait of Ed Ruscha using the medium of video images. Digital electronic images held pixel by pixel in smartphone camera and computer hard disks are interpreted into physical drawing environments to make an expressive representation of a human form. Tactile gestural mark-making is contrasted with electronic imaging to create a pensive image where techniques are blended. The process and methodology are described, and the artistic outputs are shared across the globe through digital and analogue communication systems.
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Yi, Jihhyeon, Sungryul Park, Juah Im, Seonyeong Jeon, and Gyouhyung Kyung. "Effects of display curvature and hand length on smartphone usability." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 61, no. 1 (September 2017): 1054–57. http://dx.doi.org/10.1177/1541931213601868.
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The purpose of this study was to examine the effects of display curvature and hand length on smartphone usability, which was assessed in terms of grip comfort, immersive feeling, typing performance, and overall satisfaction. A total of 20 younger individuals with the mean (SD) age of 20.8 (2.4) yrs were divided into three hand-size groups (small: 8, medium: 6, large: 6). Two smartphones of the same size were used – one with a flat display and the other with a side-edge curved display. Three tasks (watching video, calling, and texting) were used to evaluate smartphone usability. The smartphones were used in a landscape mode for the first task, and in a portrait mode for the other two. The flat display smartphone provided higher grip comfort during calling (p = 0.008) and texting (p = 0.006) and higher overall satisfaction (p = 0.0002) than the curved display smartphone. The principal component regression (adjusted R2 = 0.49) of overall satisfaction on three principal components comprised of the remaining measures showed that the first principal component on grip comfort was more important than the other two on watching experience and texting performance. It is thus necessary to carefully consider the effect of display curvature on grip comfort when applying curved displays to hand-held devices such as smartphones.
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Regenbogen, Christina, Thilo Kellermann, Janina Seubert, Daniel A. Schneider, Raquel E. Gur, Birgit Derntl, Frank Schneider, and Ute Habel. "Neural responses to dynamic multimodal stimuli and pathology-specific impairments of social cognition in schizophrenia and depression." British Journal of Psychiatry 206, no. 3 (March 2015): 198–205. http://dx.doi.org/10.1192/bjp.bp.113.143040.
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BackgroundIndividuals with schizophrenia and people with depression both show abnormal behavioural and neural responses when perceiving and responding to emotional stimuli, but pathology-specific differences and commonalities remain mostly unclear.AimsTo directly compare empathic responses to dynamic multimodal emotional stimuli in a group with schizophrenia and a group with depression, and to investigate their neural correlates using functional magnetic resonance imaging (fMRI).MethodThe schizophrenia group (n = 20), the depression group (n = 24) and a control group (n = 24) were presented with portrait-shot video clips expressing emotion through three possible communication channels: facial expression, prosody and content. Participants rated their own and the actor's emotional state as an index of empathy.ResultsAlthough no group differences were found in empathy ratings, characteristic differences emerged in the fMRI activation patterns. The schizophrenia group demonstrated aberrant activation patterns during the neutral speech content condition in regions implicated in multimodal integration and formation of semantic constructs. Those in the depression group were most affected during conditions with trimodal emotional and trimodal neutral stimuli, in key regions of the mentalising network.ConclusionsOur findings reveal characteristic differences in patients with schizophrenia compared with those with depression in their cortical responses to dynamic affective stimuli. These differences indicate that impairments in responding to emotional stimuli may be caused by pathology-specific problems in social cognition.
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Pevec, Iza, and Robbie Cooper. "Staring at the Screen: Interview with Photographer Robbie Cooper." Grimace, Vol. 2, no. 1 (2017): 14–19. http://dx.doi.org/10.47659/m2.014.int.
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From the beginnings of the photography, portrait photography has had a special aura – reading one’s own facial expressions and those of others is after all a very human trait. In his project Immersion, British artist Robbie Cooper presents a specific type of portraits – portraits of people as media consumers. We are all aware of the frightening statistics of the average number of hours spent behind the screen, yet Cooper’s intention was not to moralise. A diverse spectrum of people’s expressions captured during watching various media content tells only one part of our human story. In the Immersion, the screen becomes some kind of mirror, recording intense expressions of the portrayed persons, captured with an in-built camera. Because of the accompanying sound, we can guess what the people are watching – the content includes everything, from video games, pornography to snuff movies. Stills from the movies have less documentary value. With the help of the high quality of the photos, the frozen grimaces become peculiarly similar to the classical portraits from the history of art. Almost eccentric grimaces confuse us and at the same time remind us how realistic virtual reality feels. Cooper had already explored our relationship towards virtual reality in his project Alter Ego, in which he sets the gamers of virtual games next to their avatars. He was interested in the human element of virtual worlds by questioning what imaginary personas can tell us about their creators. Throughout our conversation, questions of human consciousness arose. Keywords: expressive face, grimace, human character and facial expression, media content, Robbie Cooper, role-playing
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Ben-Youssef, Fareed. "The Birth and Death of a Professional Wrestling Alter-Ego: Takahara Hidekazu’s Gamushara and the Loss of a Transgressive Identity." Japanese Language and Literature 53, no. 2 (October 10, 2019): 203–31. http://dx.doi.org/10.5195/jll.2019.80.
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Japanese filmmaker Takahara Hidekazu's film Gamushara (2015), portrays joshi puroresu (female professional wrestling) star Yasukawa Act working through the trauma of sexual abuse through the spectacular world of professional wrestling. Shortly before the film’s release, Yasukawa was involved in what the Japanese media labeled the "Ghastly Match," wherein she had her orbital bone shattered in the ring. Takahara followed Yasukawa over the course of a year, tracking her recovery as well as her sudden retirement due to injury. The ensuing long form documentary was included on the film’s home video release and offers a unique portrait of a woman holding on to her spectacular, transgressive identity before letting it die. The cycle offers a portrait of the birth and death of an identity, built upon the receiving and inflicting of violence, at the point of healing and asks: what strength is lost within this process? What freedom is gained at the loss of an alter-ego defined by a transgressive femininity? In answering such questions, it frames the potential hold of the audience on a transgressive in-ring persona—a metaphorical wrestling match that pits viewer against artist—while revealing the difficulties for a woman working to change and overcome the ‘script’ that governs her in-ring performances and shades her traumas.The article frames Yasukawa’s growing alienation from her selves through close formal analysis of the films, interviews with the filmmaking team and fellow wrestlers, and a theoretical framework that combines studies on recovery from trauma with those detailing the transgressive possibility of wrestling and its structuring dichotomy between the fake and the real. It positions the film against previous representations of joshi puroresu in cinema to track the shifting gender politics of the form as it has come to be appreciated by a largely male audience as well as against Takahara’s previous self-critical pornographic Pink Films. Such comparisons underline how Yasukawa’s feminine transgression exists within a fraught and muddled setting often shaped by a male gaze. To consider the possibilities and limits of Yasukawa’s multivalent transgression of both gender and identity norms as well as the operating scripts of professional wrestling and trauma, the article also engages with gender scholar Sharon Marcus’ writing on how the rape script might be transcended via the development of a woman’s capacity for violence.Through such a critical prism, Takahara’s Gamushara cycle ultimately emerges as a vital and crucially murky documentary series for gender and media scholars concerned with the tensions of identity formation within spaces of spectacle wherein one’s performed screams might mask one’s real cries for help.
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Benjocki, Kristina. "The Regime of the Visible." ARTMargins 6, no. 2 (June 2017): 91–92. http://dx.doi.org/10.1162/artm_a_00178.
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The Regime of Visible, in the form of a pocket map, introduces two ways of exploring Cannerberg, a small hill situated between Maastricht, the Netherlands, and Kanne, Belgium. One side of the map traces the ownership of land by mapping cadaster parcels and their corresponding buildings and underground tunnel structures. The other side traces varied sources from the history and geology of Caestert plateau with a focus on Cannerberg. From Neolithic times, continuous mining of flint nodules and later limestone created a complex network of underground tunnels around Maastricht, popularly called “the caves.” Flint nodules were used to make tools and weapons, and to build fire. For centuries, up until industrialization, limestone was extracted by hand and used in building infrastructure in the Limburg province. By the time of industrialization, underground mining in Cannerberg had already been exhausted. The maze of underground corridors left behind was regularly used by local farmers until WWII, when German troops re-purposed Cannerberg into a storage and assembly facility for V-1 rockets. A few years after WWII, the North Atlantic Treaty Organisation (NATO) rented out the same “cave” and used it as the headquarters for war operations during the Cold War. In 1992 the NATO headquarters shut down. The same year, the Treaty of the European Union was ratified in Maastricht, its twelve signatures memorialized in Cannerberg's “cave.” The Regime of Visible collapses the narratives of property and history through the superposition of Cannerberg's storylines. The Regime of Visible is part of long-term research on the Caestert plateau history, and it functions as an introductory work to “Portrait of the Mountain,” an upcoming video essay.
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Bokarev, Aleksei S., and Yulia V. Tkachuk. "POETICS OF LIFELOGGING: ON INTERSUBJECT FORMS OF UTTERANCE IN IGOR KHOLIN’S POEMS." World of Russian-speaking Countries 6, no. 4 (2020): 84–94. http://dx.doi.org/10.20323/2658-7866-2020-4-6-84-94.
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The article is addressed to the consideration of the subject organization of lyrics by I. Kholin, a representative of the Lianozovo literary group, who became widely known as the author of the book of poems “Residents of the Barack”. Already in the presented, debut for the poet, composition there were outlined the types of speech widely presented to him, in which the subject is likened to a life-log camera, and the focus of attention is shifted from “Self” to “you”, from internal to external to the speaking world. The term “life-logging”, meaning the automatic fixation of a person's life using a video medium fixed to the body, is used in the article as a literary metaphor, “highlighting” the difficulty of personal speaking and self-expression of the protagonist. However, just as the environment of a life logger who does not fall into his own lens gives him a sufficient (if not exhaustive) idea, the life realities in the subject's field of view can tell about his inner world no less than he by himself. The analysis of a number of poems (the most detailed is considered “Fences. Garbage cans. Posters. Advertising”) allows you to demonstrate the intersubjective nature of life-logic “optics”. The latter is used by Kholin in three different forms: as the “dissolution” of the speaker in the text, as the construction of the statement on behalf of the syncretic subject and as the priority of the “other” over the “self” when creating the verbal “self-portrait” of the hero. The impossibility of distancing from hostile reality, but also the inadequacy of selfdetermination in its conditions, testify to the formation of a kenotic model of the artist's relationship with reality. In Kholin's poetry, the lyrical subject is not only a detached viewer, but also a protagonist who fully shares his sins and suffering with the world.
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Kim, Yeun Ho. "A Study of Digital Camera Perspectives in Which Ethical Others Emerge - Focused on Digital Video Art of Self-Portrait in Korea (KIM Se-jin, KIM Dong-ryung, Black Jagur, Jane Jin Kaisen, LIM Deok-yoon)." CONTENTS PLUS 18, no. 3 (June 29, 2020): 69–88. http://dx.doi.org/10.14728/kcp.2020.18.03.069.
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Kusrini, Kusrini. "Potret Diri Digital dalam Seni dan Budaya Visual." Journal of Urban Society's Arts 2, no. 2 (October 10, 2015): 111–22. http://dx.doi.org/10.24821/jousa.v2i2.1448.
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Selfie merupakan bentuk tidak resmi (slang) dari potret diri digital (digital self-portraits). Keberadaannya semakin berkembang. National #Selfie Gallery di London pada 2013 menunjukkan bahwa jenis foto ini memiliki kelayakan untuk masuk galeri dan disebut sebagai karya seni. Sejumlah 19 seniman berfoto selfie dan hasilnya dipamerkan dalam bentuk video berdurasi singkat, masing-masing sekitar 30 detik. Untuk sampai di ruang pamer galeri, foto-foto selfie tersebut melalui tahap kurasi oleh kurator. Terdapat seleksi teknik dengan perangkat yang ada di dunia seni. Pada tahap selanjutnya, foto-foto selfie tersebut masuk galeri. Saat lolos seleksi dan dipamerkan di ruang galeri, serta dinikmati audiens seni, digital self-portraits menjadi sebuah karya seni dengan nilai isi makna seni, termasuk nilai estetis, serta nominal tertentu saat dibeli oleh kolektor. Jenis foto yang mengelilingi masyarakat kota tidak hanya selfie dan potret diri, namun semakin beragam. Di mana pun bertemu dengan foto, hingga dalam pengambilan keputusan maupun tindakan, berdasarkan pada apa yang dilihat. Di ranah ini, foto sudah menjadi bagian dari budaya masyarakat membentuk budaya visual. Dari budaya visual ini, bidang-bidang kehidupan lain ikut terpengaruh. Ketika foto menjadi bagian tidak terpisahkan dari kehidupan ataupun cara hidup masyarakat, bidang lain seperti ekonomi dan sosial turut larut di dalamnya. Perekonomian menjadikan dunia visual sebagai lahan bisnis yang menjanjikan. Dari sisi sosial, masyarakat menggantikan interaksi dan komunikasi langsung dengan media digital. Melihat dan mengukur seseorang dari relasi dari di media sosial, dan menilainya dari visual yang tertampil di jejaring sosial tersebut Selfie is a slang form of digital self-portrait. Now, its development has been increasing. National #Selfie Gallery in London in 2013 showed the eligibility of this type to enter the gallery and called it as a work of art. There were 19 artists taking their selfie and displayed the works in the form of short videos, each was about 30 seconds. Being displayed in the gallery, these photos of selfie had been through stages of curation by curators before they were displayed in the gallery. There was a technique of selection with the existing devices in the art world. When photographs passed the selection and were exhibited in the gallery space, and were enjoyed by the audiences, the digital self-portraits become a work of art which contain the art values in content, including aesthetics, and certain nominal when purchased by collectors. The types of photo surrounding the urban community are not only selfie and self-portrait, but more various upon them. Wherever photos are found, and when taking the decision and action in society, they are much influenced on what are seen. Based upon this realm, they have already become a part of community art which forms the visual culture. From this visual culture, other areas of life are affected. When photos become the inseparable part of life or community way of life, other areas like economic and social are fused within them. The economics makes the visual area becoming the prospective business area. From the social side, the community replaces the interaction and direct communication with the digital media. By having this understanding, we are able to see and measure a person by looking at his/her social relation through the social media, and giving the showed value as being found in its social networking.
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Khrupovych, Svitlana, and Tetiana Borysova. "Using of an artificial intelligence in the marketing analysis of unstructured data." Marketing and Digital Technologies 5, no. 1 (March 14, 2021): 17–26. http://dx.doi.org/10.15276/mdt.5.1.2021.2.
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The aim of the article. The aim of the article is to find effective ways to use an artificial intelligence in the marketing analysis of unstructured data. This will allow us to highlight the benefits of using big data in marketing. To develop end-to-end analytics, it is necessary to develop a scheme of aggregation of personalized information about the client. Analyses results. It is established that the accumulated information in marketing contains a huge potential for new knowledge and can provide many new opportunities for decision-making. Unstructured data is described as information that does not have a predefined data model, or is poorly organized and structured. This data can be obtained from video content, e-mails, images, social media posts, PDF files. The article proposes systematization of unstructured data in accordance with content sources. Unstructured data analysis will allow us to model a portrait of the target consumer; study and analyze loyal consumer demands through automated content analysis of social networks; to influence consumer behavior through personalized communication content; set up personalized advertising appeals; effectively forecast production costs for the creation of new products and the withdrawal from the market of those, that are not in demand; generate and retain the target audience. Artificial intelligence technology makes unstructured data an extremely valuable resource for marketing analytics to their automated processing. It is noted that the biggest advantage of using unstructured data in marketing is that artificial intelligence can analyze texts by scanning emails and processing documents by word processors. Data mining through smart machine algorithms also allows marketers to see hidden patterns and identify associations of events, sequences of events and the correlation between them. The tools of practice of the individualized approach in marketing which work on the basis of big data are highlighted. Contextual advertising, which with the help of artificial intelligence algorithms itself "guesses" that the potential customer is looking for, having only keywords from the given parameters. Chatbots are ready to answer standardized questions round-the-clock. Using this artificial intelligence program helps reduce marketing costs, optimize customer service time, and increase conversions. It is investigated that the world practice of marketing analytics in big data processing is based on a powerful and free Microsoft Power BI platform. It is noted that the introduction of such end-to-end analytics through the integration of all data sources, can significantly increase profitability. A business process model of unstructured data analytics based on the Microsoft Power BI platform is proposed. Among the basic benefits that we can get from the use of artificial intelligence in the analysis of unstructured data in order to personalize content, is the formation of a portrait of each client. This data, combined with specialized analytical information processing software, enables marketers to move from understanding the customer-consumer to the customer-person. Conclusions and directions for further research. The research conducted in the field of using artificial intelligence algorithms for the practical direction of marketing analysis of unstructured data, indicates to us that we can better target proposals for individual consumers. In summary, we note that cognitive technologies and analytical platforms based on artificial intelligence allow us to understand the visual image and text through machine learning. This process can only be ensured by creating a partnership between the human consumer and the computer systems of various business areas. Replacing routine work with a machine algorithm of artificial intelligence will allow the cognitive system to use unstructured data to improve marketing analytics in the context of personalizing content for each consumer. Keywords: marketing analysis, unstructured data, artificial intelligence, information, cognitive system.