Journal articles on the topic 'Videography. eng'

The disposition of the Anlage fields of the neural plate and the intraembryonic mesoblast in the upper layer of the chicken blastoderm was studied at the primitive streak stage prior to the regression of Hensen's node (stages 5V to 6V, L. Vakaet (1970) Arch. Biol. 81, 387–426). Chicken blastoderms were cultured by New's technique on a mixture of thin egg white and agar. The anterior half of the deep layer was reflected with a tungsten needle. A circular fragment of the upper layer was punched out with a pulled out Pasteur pipette and discarded. It was replaced with an isotopic and isopolar piece of quail upper layer that was punched out with the same pipette. The deep layer was replaced and the chimeras were reincubated for 24 hours. The xenografts were followed with time-lapse videography. After fixation, the quail cells were located using Le Douarin's quail nucleolar marker technique. Integrating the observations with time-lapse videography and the results of Feulgen stained sections, we have drawn a new fate map of the disposition of the Anlage fields in the upper layer of the chicken blastoderm at stages prior to the regression of Hensen's node (stages 5V to 6V). The disposition of the neural plate and of the notochord, somites, nephrotome and lateral plates was therefore determined before the Anlage fields are morphologically discernible. The pathway of the fields in the upper layer towards their disposition was documented with time-lapse videography in chimeric chicken blastoderms that developed normally.

Purpose – The purpose of this article is to show how the application of multiple qualitative methods reveals insights into grocery shopping that cannot be captured via traditional survey methods. Design/methodology/approach – A mixed-method approach was applied where the results of one technique provided the guidelines for the next as a way to understand how decisions are made within a grocery store. A mail survey started the process which subsequently presented input for the focus group, leading to videographic observations, depth interviews and consumer diaries. Findings – The results show that many decisions in the grocery store are not driven by the store environment but rather by emotional connections to the brand. This suggests that using behavioral and attitudinal surveys to understand this perspective may not adequately capture important aspects of grocery buying. Instead, consideration must be given to alternative methods which offer the shopper freedom to discuss what is important to them in terms of product selection. Research limitations/implications – This study is unique in applying multiple qualitative methods to an environment that is often overlooked as a source for meaningful insights into consumer decisions. The ability to use methods such as videography and self-assessment provides consequential reasons behind consumer behaviour rather than just statistical measurements of this. Practical implications – The results make a note of caution for retailers. Radical changes to brand offerings (e.g. deleting lines) and accessibility to preferred products (e.g. out of stocks, store layouts) runs the risk of potentially isolating regular customers. Our research shows that when a favorite product is not available, a substitute is not likely. Instead respondents tend to go to another store that does stock their brand, or they buy a smaller, cheaper product to “make do” until the next shop. Neither option is a good outcome for the consumer, the manufacturer or the store. Originality/value – This study will show that for grocery buying, not all decisions are rational where the use of available information is what drives the final brand choice. Instead, consumers display evidence of emotion that one research method in isolation is unlikely to adequately capture.

As videography and other media technologies are normalized in the field of qualitative methods for the purpose of data collection, there is a growing need to discuss the benefits and limitations of these data collection tools. This article chronicles an ethnographic video study focused on the experiences of Muslim adults living in the Netherlands, and why the author opted to end the project. Issues focus on reckoning with the imperial gaze of the camera, performative behavior of participants before the camera and interdisciplinary tensions the researcher faced from conflicting trainings as a qualitative methodologist and media practitioner.

The mechanics of lung ventilation in frogs and aquatic salamanders has been well characterized, whereas lung ventilation in terrestrial-phase (post-metamorphic) salamanders has received little attention. We used electromyography (EMG), X-ray videography, standard videography and buccal and body cavity pressure measurements to characterize the ventilation mechanics of adult (post-metamorphic) tiger salamanders (Ambystoma tigrinum). Three results emerged: (i) under terrestrial conditions or when floating at the surface of the water, adult A. tigrinum breathed through their nares using a two-stroke buccal pump; (ii) in addition to this narial two-stroke pump, adult tiger salamanders also gulped air in through their mouths using a modified two-stroke buccal pump when in an aquatic environment; and (iii) exhalation in adult tiger salamanders is active during aquatic gulping breaths, whereas exhalation appears to be passive during terrestrial breathing at rest. Active exhalation in aquatic breaths is indicated by an increase in body cavity pressure during exhalation and associated EMG activity in the lateral hypaxial musculature, particularly the M. transversus abdominis. In terrestrial breathing, no EMG activity in the lateral hypaxial muscles is generally present, and body cavity pressure decreases during exhalation. In aquatic breaths, tidal volume is larger than in terrestrial breaths, and breathing frequency is much lower (approximately 1 breath 10 min(−)(1)versus 4–6 breaths min(−)(1)). The use of hypaxial muscles to power active exhalation in the aquatic environment may result from the need for more complete exhalation and larger tidal volumes when breathing infrequently. This hypothesis is supported by previous findings that terrestrial frogs ventilate their lungs with small tidal volumes and exhale passively, whereas aquatic frogs and salamanders use large tidal volumes and and exhale actively.

Background: Wearable sensors are increasingly used to quantify the frequency and magnitude of head impact events in multiple sports. There is a paucity of evidence that verifies head impact events recorded by wearable sensors. Purpose: To utilize video analysis to verify head impact events recorded by wearable sensors and describe the respective frequency and magnitude. Study Design: Cohort study (diagnosis); Level of evidence, 2. Methods: Thirty male (mean age, 16.6 ± 1.2 years; mean height, 1.77 ± 0.06 m; mean weight, 73.4 ± 12.2 kg) and 35 female (mean age, 16.2 ± 1.3 years; mean height, 1.66 ± 0.05 m; mean weight, 61.2 ± 6.4 kg) players volunteered to participate in this study during the 2014 and 2015 lacrosse seasons. Participants were instrumented with GForceTracker (GFT; boys) and X-Patch sensors (girls). Simultaneous game video was recorded by a trained videographer using a single camera located at the highest midfield location. One-third of the field was framed and panned to follow the ball during games. Videographic and accelerometer data were time synchronized. Head impact counts were compared with video recordings and were deemed valid if (1) the linear acceleration was ≥20 g, (2) the player was identified on the field, (3) the player was in camera view, and (4) the head impact mechanism could be clearly identified. Descriptive statistics of peak linear acceleration (PLA) and peak rotational velocity (PRV) for all verified head impacts ≥20 g were calculated. Results: For the boys, a total recorded 1063 impacts (2014: n = 545; 2015: n = 518) were logged by the GFT between game start and end times (mean PLA, 46 ± 31 g; mean PRV, 1093 ± 661 deg/s) during 368 player-games. Of these impacts, 690 were verified via video analysis (65%; mean PLA, 48 ± 34 g; mean PRV, 1242 ± 617 deg/s). The X-Patch sensors, worn by the girls, recorded a total 180 impacts during the course of the games, and 58 (2014: n = 33; 2015: n = 25) were verified via video analysis (32%; mean PLA, 39 ± 21 g; mean PRV, 1664 ± 619 rad/s). Conclusion: The current data indicate that existing wearable sensor technologies may substantially overestimate head impact events. Further, while the wearable sensors always estimated a head impact location, only 48% of the impacts were a result of direct contact to the head as characterized on video. Using wearable sensors and video to verify head impacts may decrease the inclusion of false-positive impacts during game activity in the analysis.

Experimental autoimmune encephalomyelitis (EAE) is the most commonly used multiple sclerosis animal model. EAE mice typically develop motor deficits in a caudal-to-rostral pattern when inflammatory lesions have already developed. However, to monitor more subtle behavioral deficits during lesion development (i.e., pre-clinical phase), more sophisticated methods are needed. Here, we investigated whether high speed ventral plane videography can be applied to monitor early motor deficits during ‘pre-clinical’ EAE. For this purpose, EAE was induced in C57BL/6 mice and gait abnormalities were quantified using the DigiGait™ apparatus. Gait deficits were related to histopathological changes. 10 out of 10 control (100%), and 14 out of 18 (77.8%) pre-clinical EAE mice could be evaluated using DigiGait™. EAE severity was not influenced by DigiGait™-related mice handlings. Most gait parameters recorded from day 6 post-immunization until the end of the experiment were found to be stable in control mice. During the pre-clinical phase, when conventional EAE scorings failed to detect any functional impairment, EAE mice showed an increased Swing Time, increased %Swing Stride, decreased %Stance Stride, decreased Stance/Swing, and an increased Absolute Paw Angle. In summary, DigiGait™ is more sensitive than conventional scoring approaches to study motor deficits during the EAE pre-clinical phase.

As is common in biological invasions, the rate at which cane toads ( Rhinella marina ) have spread across tropical Australia has accelerated through time. Individuals at the invasion front travel further than range-core conspecifics and exhibit distinctive morphologies that may facilitate rapid dispersal. However, the links between these morphological changes and locomotor performance have not been clearly documented. We used raceway trials and high-speed videography to document locomotor traits (e.g. hop distances, heights, velocities, and angles of take-off and landing) of toads from range-core and invasion-front populations. Locomotor performance varied geographically, and this variation in performance was linked to morphological features that have evolved during the toads' Australian invasion. Geographical variation in morphology and locomotor ability was evident not only in wild-caught animals, but also in individuals that had been raised under standardized conditions in captivity. Our data thus support the hypothesis that the cane toad's invasion across Australia has generated rapid evolutionary shifts in dispersal-relevant performance traits, and that these differences in performance are linked to concurrent shifts in morphological traits.

Proper stroke posture and rhythm are crucial for kayakers to achieve perfect performance and avoid the occurrence of sport injuries. The traditional video-based analysis method has numerous limitations (e.g., site and occlusion). In this study, we propose a systematic approach for evaluating the training performance of kayakers based on the multiple sensors fusion technology. Kayakers’ motion information is collected by miniature inertial sensor nodes attached on the body. The extend Kalman filter (EKF) method is used for data fusion and updating human posture. After sensor calibration, the kayakers’ actions are reconstructed by rigid-body model. The quantitative kinematic analysis is carried out based on joint angles. Machine learning algorithms are used for differentiating the stroke cycle into different phases, including entry, pull, exit and recovery. The experiment shows that our method can provide comprehensive motion evaluation information under real on-water scenario, and the phase identification of kayaker’s motions is up to 98% validated by videography method. The proposed approach can provide quantitative information for coaches and athletes, which can be used to improve the training effects.

Abstract There is increasing evidence that hand gestures and speech synchronize their activity on multiple dimensions and timescales. For example, gesture’s kinematic peaks (e.g., maximum speed) are coupled with prosodic markers in speech. Such coupling operates on very short timescales at the level of syllables (200 ms), and therefore requires high-resolution measurement of gesture kinematics and speech acoustics. High-resolution speech analysis is common for gesture studies, given that field’s classic ties with (psycho)linguistics. However, the field has lagged behind in the objective study of gesture kinematics (e.g., as compared to research on instrumental action). Often kinematic peaks in gesture are measured by eye, where a “moment of maximum effort” is determined by several raters. In the present article, we provide a tutorial on more efficient methods to quantify the temporal properties of gesture kinematics, in which we focus on common challenges and possible solutions that come with the complexities of studying multimodal language. We further introduce and compare, using an actual gesture dataset (392 gesture events), the performance of two video-based motion-tracking methods (deep learning vs. pixel change) against a high-performance wired motion-tracking system (Polhemus Liberty). We show that the videography methods perform well in the temporal estimation of kinematic peaks, and thus provide a cheap alternative to expensive motion-tracking systems. We hope that the present article incites gesture researchers to embark on the widespread objective study of gesture kinematics and their relation to speech.

SUMMARYThe kinematics and hydrodynamics of free-swimming larvae of Enallagma cyathigerum were investigated using videography combined with a simple wake visualisation technique (tracer dyes). Damsel-fly larvae are undulatory swimmers with two distinct styles of movement: ‘slow’ swimming, in which body undulation is assisted by paddling of the legs, and ‘fast’ swimming, in which the legs are inactive. In both cases, the wake consists of discrete ring vortices shed from the caudal fin at the end of each half-stroke. The vortices propagate away from the mid-line, alternately to one side of the body then the other, at an angle of 67° from dead aft. There is no aft-flowing jet such as that observed in the wakes of continuously swimming fish that use caudal fin propulsion. The estimated momentum within the vortices, and the resultant thrust on the body are in tolerable agreement with calculations based on the large-amplitude bulk momentum model of fish locomotion. However, the drag on the body is not known, so it cannot be concluded with certainty that a force balance exists. The agreement between experiment and prediction gives confidence to the idea that most, if not all, of the vorticity generated by the swimming larva is located within the observable wake elements.

<p><strong>Abstract.</strong> High-end consumer quadcopter UAVs or so-called “prosumer devices”, have made inroads into the mapping industry over the past few years, arguably displacing more expensive purpose-built systems. In particular, the DJI Phantom series quadcopters, marketed primarily for videography, have shown considerable promise due to their relatively high-quality cameras. Camera pre-calibration has long been a part of the aerial photogrammetric workflow with calibration certificates being provided by operators for every project flown. Most UAV data, however, is processed today in Structure-from-Motion software where the calibration is generated “on-the-fly” from the same image-set being used for mapping. Often the scenes being mapped and their flight-plans are inappropriate for calibration as they do not have enough variation in altitude to produce a good focal-length solution, and do not have cross-strips to improve the estimation of the principal point. What we propose is a new type of flight-plan that can be run on highly textured scenes of varying height prior to mapping missions that will significantly improve the estimation of the interior orientation parameters and, as a consequence, improve the overall accuracy of projects undertaken with these sorts of UAV systems. We also note that embedded manufacturer camera profiles, which correct for distortion automatically, should be removed prior to all photogrammetric processing, something that is often overlooked as these profiles are not made visible to the end user in most image conversion software, particularly Adobe’s CameraRAW.</p>

The purpose of this study is to compare end-tidal carbon dioxide (EtCO2) during resuscitation of open-chest cardiac massage (OCCM) with aortic cross-clamp (ACC) versus receiving resuscitative endovascular balloon occlusion of the aorta (REBOA) with closed-chest compressions (CCCs). Patients who received REBOA were compared with patients receiving OCCM for traumatic arrest using continuous vital sign monitoring and videography. Thirty-three patients were enrolled in the REBOA group and 18 patients were enrolled in the OCCM group. Of the total patients, 86.3 per cent were male with a mean age of 36.2 ± 13.9 years. Ninety-four percent of patients suffered penetrating trauma in the OCCM group compared with 30.3 per cent of the REBOA group ( P = <0.001). Before aortic occlusion (AO), there was no difference in initial EtCO2 values, but mean, median, peak, and final EtCO2 values were lower in OCCM ( P < 0.005). During CPR after AO, the initial, mean, and median values were higher with REBOA ( P = 0.015, 0.036, and 0.038). The rate of return of spontaneous circulation was higher in REBOA versus OCCM (20/33 [60.1%] vs 5/18 [33.3%]; P = 0.04), and REBOA patients survived to operative intervention more frequently ( P = 0.038). REBOA patients had greater total cardiac compression fraction (CCF) before AO than OCCM (85.3 ± 12.7% vs 35.2 ± 18.6%, P < 0.0001) and after AO (88.3 ± 7.8% vs 71.9 ± 24.4%, P = 0.0052). REBOA patients have higher EtCO2 and cardiac compression fraction before and after AO compared with patients who receive OCCM.

This article presents an analysis of contemporary performance art carried out by women in Galicia; a complex issue if we consider that the nature of the discipline is a practically unexplored matter. Our reflection begins by defining the typology and particularities of Galician performance art. After that, we address the performance art context in Galicia and, finally, we examine the production of three artists that we consider essential: María Marticorena, Ana Gesto and María Roja. Our methodology emerges from a thorough search of available bibliographic resources, updated fieldwork through interviews, and tracking of photographic and videographic documentation. We have opted for a qualitative interview, focused on the artists analysed in the article which can be consulted as "Annex I", attached at the end of the text. This article unveils performance art that starts in the second half of the first decade of the new century, with the almost exclusive presence of women developing heterogeneous themes but influenced by the Galician cultural context. They haven’t had institutional support or been part of self-management movements, so frequent in other parts of Spain.

Purpose The purpose of this paper is to scrutinize how Miley Cyrus’ brand values are projected through the multimodal semiotic structure of the live performance of the song Do my thang (from the Bangerz album (2013)). Design/methodology/approach Sociosemiotic conceptual framework in conjunction with an interpretive videographic method of analysis, facilitated by the multimodal qualitative discourse analytic software ATLAS.ti. Findings Four major territories were identified as regards the spectacle’s latent axiology, namely, freeplay, polymorphous sexuality, neo-burlesque, and hyperdifferentiation. Practical implications Attending to structural couplings between signs and modes in the context of bespoke artists’ brand languages constitutes a priority for managing an artist as brand, and, concomitantly, for safeguarding relevance for a fandom. A multimodal reading grid is offered to this end. Originality/value From a branding point of view, this study constitutes the first one that theorizes the live show spectacle as the manifest discourse whereupon brand image and brand values are edified, with an emphasis on the dance mode, over and above the verbal/visual modes that dominate the advertising/branding literatures.

The authors reviewed the literature, published from 1970 through December 2009, on biomechanical research in dance. To identify articles, the authors used search engines, including PubMed and Web of Science, five previous review articles, the Dance Medicine and Science Bibliography, and reference lists of theses, dissertations, and articles being reviewed. Any dance research articles (English language) involving the use of electromyography (EMG), forceplates, motion analysis using photography, cinematography or videography, and/or physics analysis were included. A total of 89 papers, theses/dissertations, and abstracts were identified and reviewed, grouped by the movement concept or specialized movements being studied: alignment (n = 8), plié (8), relevé (8), passé (3), degagé (3), développé (7), rond de jambe (3), grand battement (4), arm movements (1), forward stepping (3), turns (6), elevation work (28), falls (1), and dance-specific motor strategies (6). Several recurring themes emerged from these studies: that elite dancers demonstrate different and superior motor strategies than novices or nondancers; that dancers perform differently when using a barre as opposed to without a barre, both in terms of muscle activation patterns and weight shift strategies; that while skilled dancers tend to be more consistent across multiple trials of a task, considerable variability is seen among participants, even when matched for background, years of training, body type, and other variables; and that dance teachers recommend methods of achieving movement skills that are inconsistent with optimal biomechanical function, as well as inconsistent with strategies employed by elite dancers. Measurement tools and the efficacy of study methodologies are also discussed.

Abstract The recruitment success of some herring stocks fluctuates strongly, and apparently, success is often already determined during the early life stages, i.e. before metamorphosis. In studying the survival of early life stages and its affecting factors, particularly those during the egg stage, it is crucial to examine the processes at the spawning sites, which often cannot be explored directly. A recent decline in the recruitment of Western Baltic spring-spawning herring (WBSSH) increases the urgency of filling the knowledge gap for this stock, especially because one bottleneck in the recruitment seems to occur before hatching. We examined the successful 2003–2009 spawning sites of WBSSH in the main spawning ground, the Greifswalder Bodden lagoon. Instead of using common techniques such as diving or underwater videography, which are usually unsuitable for mapping large areas, we applied a model approach. We tracked herring larvae at length 6–10 mm, recorded by larval surveys during March–June of the respective years, back to their hatching sites using a Lagrangian particle backtracking model. We compared the spawning areas identified by the model with the results of earlier field studies; however, we also analysed variations between years, larval length groups, and different applied growth models, which are needed to define hatch-dates. Although spawning sites could not be identified with high precision because of the strong diffusion in the area studied, results indicate that larvae up to 10 mm length are caught near their hatching sites. However, the location of successful spawning sites varied largely between years, with the main hatching sites situated in the Strelasund and the eastern entrance of the lagoon. This may reflect variations in spawning-site selection or quality. A better knowledge of the locations and relative importance of, and the processes occurring on, the different spawning sites will provide an important contribution to the sustainable management of this commercially valuable herring stock.

Often, robotics has failed to meet industry expectations because programming robots is tedious, requires specialists, and often does not provide enough real flexibility to be worth the investment. In order to advance beyond a possible robotics plateau, an integrating technology will need to emerge that can take advantage of complex new robotic capabilities while making systems easier for nonrobotics people to use. This research introduces virtual tools with robotic attributes, and collaborative control concepts, that enable experts in areas other than robotics to simply point and direct sophisticated robots and machines to do new tasks. A system of robots that are directed using such virtual tools is now in place at the Pennsylvania State University (Penn State) and has been replicated at Sandia National Laboratories. (Mpeg movies from the Penn State Virtual Tools and Robotics Laboratory are at http://virtuoso.psu.edu/ mpeg_page.html.) Virtual tools, which appear as graphic representations of robot endeffectors interwoven into live video, carry robotic attributes that define trajectory details and determine how to interpret sensor readings for a particular type of task. An operator, or team of experts, directs robot tasks by virtually placing these tool icons in the scene. The operator(s) direct tasks involving attributes in the same natural way that supervisors direct human subordinates to, for example, “put that there,” “dig there,” “cut there,” and “grind there.” In this human-machine interface, operators do not teach entire tasks via virtual telemanipulation. They define key action points. The virtual tool attributes allow operators to stay at a supervisory level, doing what humans can do best in terms of task perceptualization, while robots plan appropriate trajectories and a variety of tool-dependent executions. Neither the task experts (e.g., in hazardous environments) nor the plant supervisors (e.g., in remote manufacturing applications) must turn over control to specialized robot technicians for long periods. Within this concept, shutting down a plant to reprogram robots to produce a new product, for example, is no longer required. Further, even though several key collaborators may be in different cities for a particular application, they may work with other experts over a project net that is formed for a particular mission. (We link simply by sending video frames over Netscape.) Using a shared set of virtual tools displayed simultaneously on each of the collaborator workstations, experts virtually enter a common videographic scene to direct portions of a task while graphically and verbally discussing alternatives with the other experts. In the process of achieving collaborative consensus, the robots are automatically programmed as a byproduct of using the virtual tools to decide what should be done and where. The robots can immediately execute the task for all to see once consensus is reached. Virtual tools and their attributes achieve robotic flexibility without requiring specialized programming or telemanipulation on the part of in situ operators. By sharing the virtual tools over project nets, noncollocated experts may now contribute to robot and intelligent machine tasks. To date, we have used virtual tools to direct a large gantry robot at Sandia National Laboratories from Penn State. We will soon have multiple collaborators sharing the virtual tools remotely, with a protocol for participants to take turns placing and moving virtual tools to define portions of complex tasks in other industrial, space-telerobotic, and educational environments. Attributes from each area of robotics research are envisioned with virtual tools as a repository for combining these independently developed robotic capabilities into integrated entities that are easy for an operator to understand, use, and modify.

Abstract Background Videographic material of animals can contain inapparent signals, such as color changes or motion that hold information about physiological functions, such as heart and respiration rate, pulse wave velocity, and vocalization. Eulerian video magnification allows the enhancement of such signals to enable their detection. The purpose of this study is to demonstrate how signals relevant to experimental physiology can be extracted from non-contact videographic material of animals. Results We applied Eulerian video magnification to detect physiological signals in a range of experimental models and in captive and free ranging wildlife. Neotenic Mexican axolotls were studied to demonstrate the extraction of heart rate signal of non-embryonic animals from dedicated videographic material. Heart rate could be acquired both in single and multiple animal setups of leucistic and normally colored animals under different physiological conditions (resting, exercised, or anesthetized) using a wide range of video qualities. Pulse wave velocity could also be measured in the low blood pressure system of the axolotl as well as in the high-pressure system of the human being. Heart rate extraction was also possible from videos of conscious, unconstrained zebrafish and from non-dedicated videographic material of sand lizard and giraffe. This technique also allowed for heart rate detection in embryonic chickens in ovo through the eggshell and in embryonic mice in utero and could be used as a gating signal to acquire two-phase volumetric micro-CT data of the beating embryonic chicken heart. Additionally, Eulerian video magnification was used to demonstrate how vocalization-induced vibrations can be detected in infrasound-producing Asian elephants. Conclusions Eulerian video magnification provides a technique to extract inapparent temporal signals from videographic material of animals. This can be applied in experimental and comparative physiology where contact-based recordings (e.g., heart rate) cannot be acquired.

Sinopse:"Afestos de reisado" é um documentário desenvolvido no Laboratório das Memórias e das Práticas Cotidianas-LABOME na Universidade Estadual Vale do Acaraú (UVA), IES da cidade de Sobral no Ceará. É um filme que trata das dinâmicas cotidianas da festa de reis da comunidade de Caraúbas no município de Graça/CE.A obra audiovisual contribui com interpretações sobre as diferentes agências de sujeitos individuais na composição do território da festa. As pessoas e suas práticas cotidianas que convergem na preparação, execução e revisão de atividades relacionadas ao reisado são o foco central do documentário.Os reisados, por suas multiplicidades de relações continuadas, são repercussões de diversos modos de manifestações e práticas, em vários locais do mundo e do Brasil, pois ganham variações e significações que (des)transformam a geografia dos territórios festeiros. Neste trabalho, mostramos como isso acontece em um pequeno distrito em uma cidade do interior do Ceará.O filme produziu fontes primárias e foi o método usado para pesquisa de mestrado “Afetos e territorializações na “brincadeira de reisado” de Caraúbas (Graça - CE)” de Jarbas Moraes e Orientada por Nilson Almino no Mestrado Acadêmico em Geografia na Universidade Estadual Vale do Acaraú – UVA.Partimos da hipótese de que a festa, organizada pelas pessoas, diante das relações que se desenvolve, traz à comunidade de Caraúbas e ao município, configurações territoriais compreendidas pela experiência compartilhada entre os agentes, sujeitos pesquisados e o pesquisador.O reisado é um processo que envolve uma série de fatores de ordem social. Um deles é o motivo que está atrelado a alguma crença em santos e as promessas pagas a eles, nesse caso santos reis do oriente. Estas promessas movimentam o público envolvido, responsáveis, personagens, admiradores e devotos em atividades que repercutem em práticas econômicas, afetivas, políticas e culturais. Estas prática culturais criam várias outras manifestações que significam a cultura e elaboram uma dinâmica territorializada no cotidiano que não cabe mais enquadrar de forma fixa ou rígida como popular ou oficial.Para tanto, nosso objetivo foi analisar as dinâmicas no que se referem às disputas pelo território, ocasionadas pelas festas. Além disso, ampliamos o debate sobre o território na Geografia e defendemos a ideia que a sua definição é uma relação de poder. Neste trabalho, estas relações de poder são compreendidas em um estudo de caso. Efetuamos uma releitura do recorte espacial, território, a partir um diálogo teórico-metodológico sobre múltiplas territorialidades no cotidiano, analisamos e compreendemos as experiências de campo na localidade de Caraúbas a partir de registros videográfico e de áudio.Ao final do processo de edição o título do filme ficou Afetos de reisado em acordo com experiências compartilhadas com os interlocutores. O filme foi dividido em seções que indicam o assunto que será tratado sucessivamente sem perder de vista o que foi planejado no roteiro. A montagem privilegia os acontecimentos que são narrados pelos interlocutores da pesquisa. Primeiramente definimos tirando o reisado, depois sequência do reisado, enredo do reisado, conflitos e tensões, casa do tirador, mulher na brincadeira, pagando a promessa e matança do boi.Synopsis:"Afestos de reisado" is a documentary developed at the Laboratory of Memories and Daily Practice-LABOME at the State University of Vale do Acaraú (UVA), IES of the city of Sobral in Ceará. It is a film that deals with the daily dynamics of the festival of kings of the community of Caraúbas in the municipality of Graça / CE.The audiovisual work contributes with interpretations on the different agencies of individual subjects in the composition of the territory of the party. People and their daily practices that converge in the preparation, execution and review of activities related to reisado are the central focus of the documentary.The reasados, by their multiplicities of continuous relations, are repercussions of diverse modes of manifestations and practices, in diverse places of the world and of Brazil, because they gain variations and significations that (they) transform the geography of the celebration zones. In this work, we show how this happens in a small district in a city in the interior of Ceará.The film produced primary sources and was the method used for masters research "Affects and territorializations in the" play of reisado "of Caraúbas (Graça - CE)" of Jarbas Moraes and Oriented by Nilson Almino in the Academic Master in Geography at the State University Vale do Acaraú - UVA.We start from the hypothesis that the party, organized by the people, before the relations that develops, brings to the community of Caraúbas and to the municipality, territorial configurations understood by the experience shared between the agents, subjects researched and the researcher.Reissue is a process that involves a number of social factors. One is the motive that is tied to some belief in saints and the promises paid to them, in this case holy kings from the east. These promises move the involved public, leaders, characters, admirers and devotees into activities that impact on economic, affective, political and cultural practices. These cultural practices create several other manifestations that signify the culture and elaborate a territorialized dynamics in the daily life that no longer has to fit in fixed or rigid form as popular or official.For that, our objective was to analyze the dynamics in what refers to the disputes over the territory, occasioned by the parties. In addition, we broadened the debate on territory in Geography and defended the idea that its definition is a relation of power. In this work, these power relations are understood in a case study. We make a re-reading of the space, territory, from a theoretical-methodological dialogue about multiple territorialities in the daily life, we analyze and understand the field experiences in the locality of Caraúbas from videographic and audio records.At the end of the editing process the title of the film became Afetos de reisado in agreement with experiences shared with the interlocutors. The film was divided into sections that indicate the subject that will be treated successively without losing sight of what was planned in the script. The assembly privileges the events that are narrated by the research interlocutors. Firstly, we define the reissue, then the reissue sequence, the plot of the reissue, conflicts and tensions, the shooter's house, the woman in play, paying the promise and killing of the ox.Palavras-chave:Reisado, afetos, tensões, cultura, territorializaçõesKey-words:Reisado, affections, tensions, culture, territorializationFicha técnica:Direção: Antonio Jarbas Barros de MoraesDireção de Produção: Nilson Almino de FreitasImagens: Antonio Jarbas Barros de MoraesEdição e Montagem: Antonio Jarbas Barros de Moraes, Nilson Almino de Freiras e Imannuel Kant da Silveira e AlvesCredits:Direction: Antonio Jarbas Barros de MoraesProduction Director: Nilson Almino de FreitasPictures: Antonio Jarbas Barros de MoraesEditing and Editing: Antonio Jarbas Barros de Moraes, Nilson Almino de Freiras and Imannuel Kant da Silveira e Alves

On 12 March 2020, Philippine President Rodrigo Duterte announced a lockdown of Manila to stop the spread of COVID-19. The cities, provinces, and islands of the Philippines remained under various levels of community quarantine for the remainder of the year. Under the strictest lockdown measures, known as Enhanced Community Quarantine (ECQ), no one aged below 21 or over 60 years was allowed out, a curfew was implemented between 10pm and 5am, and only one person per household, carrying a quarantine pass, was allowed to go out for essential items (Bainbridge & Vimonsuknopparat; Ratcliffe & Fonbuena). The policing of these measures was strict, with a heavy reliance on police and military to enforce health protocols (Hapal). In early April, Duterte warned that violators of the lockdown who caused trouble could be shot (Reuters). Criticisms concerning the dissemination of information about the pandemic were exacerbated when on 5 May, 2020, Filipinos lost an important source of news and entertainment as the country’s largest media network ABS-CBN was shut down after the government denied the renewal of its broadcast franchise (Gutierrez; “ABS-CBN”; “Independent Broadcaster”). The handling of the pandemic by the Duterte government has been characterised by inaction, scapegoating, and framed as a war on an existential threat (Hapal). This has led to feelings of frustration, anger, and despair that has impacted and been incorporated into the artistic expression of some Filipino creatives (Esguerra, “Reflecting”). As they did in the rest of the world, social media platforms became a vital source of entertainment for many facing these harsh lockdown measures in the Philippines in 2020. Viral forms included the sharing of videos of recipes for whipped Dalgona coffee and ube-pandesal on TikTok, binge-watching KDramas like Crash Landing on You on Netflix, playing Animal Crossing on Nintendo Switch, and watching Thailand’s Boys’ Love genre web series 2Gether: The Series on YouTube. Around the world, many arts and cultural organisations turned to online platforms to continue their events during the COVID-19 pandemic. #RomanceClass, a Filipino community of authors, artists, and actors who consume, produce, and enact mostly self-published English-language romance fiction in the Philippines, also turned to these platforms to hold their community’s live literature events. This article analyses this shift by #RomanceClass. It contends that, due to their nature as an independent, born-digital literary organisation, they were able to adapt swiftly and effectively to online-only events in response to the harshness of the Filipino lockdown, creating new forms of artistic innovation by adopting the aesthetics of Zoom into their creative practice (for example, name tags and gallery camera view). This aesthetic swiftly became familiar to people all over the world in 2020, and adopting digital platforms encodes within it the possibility for a global audience. However, while #RomanceClass are and have been open to a global audience, and their creative innovations during the pandemic have clearly been informed by transcultural online trends, this article argues that their adoption of digital platforms and creative innovations represented a continuation of their existing ethos, producing material explicitly intended for a Filipino audience, and more specifically, their existing community, prioritising community connection over any more expansive marketing efforts (McAlister et al.). The Live Literature of #RomanceClass The term #RomanceClass refers to a biblio-community of authors, readers, artists, and actors, all involved in the production and consumption of English-language romance novels in the Philippines. #RomanceClass began online in 2013 via a free writing class run predominantly on Facebook by author Mina V. Esguerra (for more on this, see McAlister et al.). As the community has developed, in-person events have become a major part of the community’s activities. However, as a born-digital social formation, #RomanceClass has always existed, to some extent, online. Their comfort in digital spaces was key to their ability to pivot swiftly to the circumstances in the Philippines during the lockdowns in 2020. One of the most distinctive practices of #RomanceClass is their live reading events. Prior to 2020, community members would gather in April for April Feels Day, and in October for Feels Fest for events where local actors would read curated passages from community-authored romance novels, and audiences’ verbal and physical responses became part of the performance. The live readings represent a distinctive form of live literature – that is, events where literature is the dominant art form presented or performed (Wiles), a field which encompasses phenomena like storytelling festivals, author readings, and literary festivals (Dane; Harvey; Weber; Wilson). In October 2019, we interviewed several #RomanceClass community members and attended one of these live reading events, Feels Fest, where we observed that the nature of the event very clearly reflected the way the community functions: they are “highly professionalised, but also tightly bound on an affective level, regularly describing [themselves] as a found family” (McAlister et al. 404). Attendance at live readings is capped (50 people, for the event we attended). The events are thus less about audience-building than they are community-sustaining, something which they do by providing community comforts. In particular, this includes kilig, a Filipino term referring to a kind of affective romantic excitement, usually demonstrated by the audience members in reaction to the actors’ readings. While the in-person component is very important to the live reading events, they have always spanned online and offline contexts – the events are usually live-tweeted by participants, and the readings are recorded and posted to YouTube by an official community videographer, with the explicit acknowledgment that if you attended the event, you are more than welcome to relive it as many times as you want. (Readings which contain a high degree of sexual content are not searchable on YouTube so as not to cause any harm to the actors, but the links are made privately available to attendees.) However, the lockdown measures implemented in the Philippines in 2020 meant that only the online context was available to the community – and so, like so many other arts communities around the world, they were forced to adapt. We tend to think of platforms like Zoom as encoded with the potential to allow people into a space who might not have been able to access it before. However, in their transition to an online-only context, #RomanceClass clearly sought to prioritise the community-sustaining practices of their existing events rather than trying in any major way to court new, potentially global, audiences. This prioritisation of community, rather than marketing, provided a space for #RomanceClass authors to engage cathartically with their experiences of lockdown in the Philippines (Esguerra, “Reflecting”). Embracing the Zoom Aesthetic: #RomanceClass in 2020 #RomanceClass’s first online event in 2020 was April Feels Day 2020, which occurred not long after lockdown began in the Philippines. Its production reflects the quick transition to an online-only co-presence space. It featured six books recently published by community authors. For each, the author introduced the book, and then an actor read an excerpt – a different approach to that hitherto taken in live events, where two actors, playing the roles of the romantic protagonists, would perform the readings together. Like the in-person live readings, April Feels Day 2020 was a synchronous event with a digital afterlife. It was streamed via Twitch, and participants could log on to watch and join the real-time conversations occurring in the chat. Those who did not sign up for a Twitch account could still watch the stream and post about the event on Twitter under the hashtag #AprilFeelsDay2020. After the event, videos featuring each book were posted to YouTube, as they had been for previous in-person live reading events, allowing participants to relive the experience if they so desired, and for authors to use as workshopping tools to allow them to hear how their prose and characters’ voices sounded (something which several authors reported doing with recordings of live readings in our interviews with them in 2019). April Feels Day 2020 represented a speedy pivot to working and socialising from home by the #RomanceClass community, something enabled by the existing digital architecture they had built up around their pre-pandemic live reading events, and their willingness to experiment with platforms like Twitch. However, it also represented a learning experience, a place to begin to think about how they might adapt creatively to the circumstances provoked by the global pandemic. They innovated in several ways. For instance, they adopted mukbang – a South Korean internet phenomenon which has become popular worldwide, wherein a host consumes a large amount of food while interacting with their audience in an online audiovisual broadcast – in their Mukbang Nights videos, where a few members of #RomanceClass would eat food and discuss their books (Anjani et al.). Food is a beloved part of both #RomanceClass events and books (“there’s lots of food, always. At some point someone always describes what the characters are eating. No exceptions”, author Carla de Guzman told us when we interviewed her in 2019), and so their adoption of mukbang shows the ways in which their 2020 digital events sought to recreate established forms of communal cohesion in a virtual co-presence space. An even more pointed example of this is their Hello, Ever After web series, which drew on the growing popularity of born-digital web series in Southeast Asia and other virtual performances around the globe. Hello, Ever After was both a natural extension of and significantly differed from #RomanceClass in-person live events. Usually, April Feels Day and October Feels Fest feature actors reading and performing passages from already published community books. By contrast, Hello, Ever After featured original short scripts written by community authors. These scripts took established characters from these authors’ novels and served as epilogues, where viewers could see how these characters and their romances fared during the pandemic. Like in-person live reading events – and unlike the digital April Feels Day 2020 – it featured two actors playing virtually side-by-side, reinforcing that one of the key pleasures derived from the reading events is the kilig produced through the interaction between the actors playing against each other (something we also observed in our 2019 fieldwork: the community has developed hashtags to refer specifically to the live reading performance interactions of some of their actors, such as #gahoates, in reference to actors Gio Gahol and Rachel Coates). The scenes are purposefully written as video chats, which allows not only for the fact that the actors were unable to physically interact with each other because of the lockdowns, but also tapped into the Zoom communication aesthetic that commandeered many people’s personal and professional communications during COVID-19 restrictions. Although the web series used a different video conferencing technology, community member Tania Arpa, who directed the web series episodes, adapted the nameplate feature that displayed the characters’ names to more closely align with the Zoom format, demonstrating #RomanceClass’s close attentiveness to developments in the global media environment. Zoom and other virtual co-presence platforms became essentially universal in 2020. One of their affordances was that people could virtually attend events from anywhere in the world, which encodes in it the possibility of reaching a broader, more global audience base. However, #RomanceClass maintained their high sensitivity to the local Filipino context through Hello, Ever After. By setting episodes during the Philippines’ lockdown, emphasised by the video chat mise en scène, Hello, Ever After captures the nuances of the sociopolitical and sometimes mundane aspects of the local pandemic response. Moreover, the series features characters known to and beloved by the community, as the episodes function as epilogues to #RomanceClass books, taking place in what An Goris calls the “post-HEA” [happily ever after] space. #RomanceClass books are available digitally – and have a readership – outside the Philippines, and so the Hello, Ever After web series is theoretically a text that can be enjoyed by many. However, the community was not necessarily seeking to broaden their audience base through Hello, Ever After; it was community-sustaining, rather than community-expanding. It built on the extant repository of community knowledge and affect by using characters that #RomanceClass members know intimately and have emotional connections to, who are not as familiar and legible to those outside the community, intended for an audience with a level of genre knowledge (McAlister et al.; Fletcher et al.). While the pandemic experience these characters were going through was global, as the almost universal familiarity with the Zoom aesthetic shows, Hello, Ever After was highly attentive to the local context. Almost all the episodes featured “Easter eggs” and dialogues that pointed to local situations that only members of the targeted Filipino audience would understand and be familiar with, echoing the pandemic challenges of the country’s present reality. Episodes featured recurrent themes like dissatisfaction with the government’s slow response and misaligned priorities, anger towards politicians exacerbating the impact of the pandemic with poor health and transportation policies, and recognition of voluntary service and aid rendered by private individuals. For example, the first episode, Make Good Days, an epilogue to Mina V. Esguerra’s novel What Kind of Day, focusses on the challenges “essential worker” hero Ben (played by Raphael Robes) faces as a local politician’s speechwriter, who has been tasked to draft a memorial speech for his boss to deliver in honour of an acquaintance who has succumbed to COVID-19. He has developed a “3:00 habit” of a Zoom call with his partner Naya (Rachel Coates), mirroring the “3:00 habit” or “3:00 Prayer to the Divine Mercy” many Catholic Filipino devotees pray and recite daily at that specific hour, a habit reinforced through schools, churches, and media, where entertainment shows allow time for the prayer to be televised. Ben and Naya’s conversation in this particular 3:00 call dwells on what they think Filipino citizens deserve, especially from local government officials who repeatedly fail them (Baizas; Torres). They also discuss the impact that the pandemic has had on Naya’s work life. She runs a tourism and travel business – which is the way that the two characters met in What Kind of Day – which she has been forced to close because of the pandemic. Naya grieves not just for the dream job she has had to give up, but also sympathises with the enormous number of Filipinos who suddenly became unemployed because of the economy closing down (Tirona). Hello, Ever After draws together the political realities of living in the Philippines during the pandemic with the personal, by showing the effects of these realities on characters like Ben and Naya, who are well-known to the #RomanceClass community. #RomanceClass books encompass a wide variety of protagonists, and so the episodes of Hello, Ever After were able to explore how the lives of health workers, actors, single parents, students, scientists, office workers, development workers, CEOs and more could be impacted by the pandemic and the lockdowns in the Philippines. They also allowed the authors to express some of their personal frustrations with living through quarantine, something they admit fueled some parts of the scripts (“Behind the Scenes: Hello, Ever After”). #RomanceClass novels like What Kind of Day all end happily, with the romantic protagonists together (in contrast to a lot of other Filipino media, which ends unhappily – for more on this, see McAlister et al.). Make Good Days and the other episodes of Hello, Ever After reflect the grim realities of pandemic life in the Philippines; however, they do not undercut this happy ending, and instead seek to reinforce it. Through Hello, Ever After, the community literally seeks to “make good days” for themselves by creating opportunities to access the familiar comfort and warmth of kilig scenes. Kilig refers to a kind of affective romantic emotion that usually has a physical manifestation (Trinidad, “Shipping”; “Kilig”). It does not have an equivalent word or phrase in English, but can be used as a noun to denote a thrilling state of excitement or as an adjective to describe moments or scenes that evoke this feeling. Creating and becoming immersed in kilig is central to #RomanceClass texts and events: authors attempt to produce kilig through their writing, and actors attempt to provoke it during live reading performances (something which, as mentioned above, was probably made more difficult in the one-actor live readings of the fully online Aprils Feels Day 2020, as much of the kilig is generated by the interactions between the actors). Kilig scenes are plentiful in Hello, Ever After. For instance, in Make Good Days, Naya asks Ben to name a thing he hated before the pandemic that he now misses. He replies that he misses being stuck in traffic with her – that he still hates traffic, but he misses spending that time with her. Escapism was a high priority for many people and communities creating art during the 2020 lockdowns. Given this, it is interesting that #RomanceClass chose to create kilig in their web series by leaning into the temporal moment and creating material specifically revolving around the lockdown in the Philippines, showing couples like Ben and Naya supporting each other and sharing their pandemic-caused burdens. Hello, Ever After both reflected the harsh reality in which the community found themselves but also gave them something to cling to in the hardest days of lockdown, showing that kilig could be found even in the toughest of circumstances when both characters and community members found themselves separated. Conclusion As a community which began in a digital space, #RomanceClass was well-positioned to pivot to an online-only environment during the pandemic, even though in-person events had become such a distinctive part of their community outputs. They experimented and innovated significantly in 2020, producing a range of digital outputs, including the Hello, Ever After web series. On the surface, this does not seem especially unusual: many arts organisations innovated digitally during the pandemic. What was particularly notable about #RomanceClass’s digital outputs, however, was that they were not designed to be marketing tools. They were not actively courting a new audience; rather, outputs like Hello, Ever After were designed to be community-sustaining, providing the existing audience comfort, familiarity, and kilig in a situation (local and global) that was not in any way comfortable or familiar. We Will Be Okay is the title of the second Hello, Ever After video, an epilogue to Celestine Trinidad’s Ghost of a Feeling: a neat summary of the message the episodes offered to the #RomanceClass audience through these revisitings of beloved characters and relationships. As we have discussed elsewhere, #RomanceClass is a professionalised community, but their affective ties are very strong (McAlister et al.). Their digital outputs during the pandemic showed this, and demonstrated again the way their community bonds are reinforced through their repeated re-engagement with their texts, just as their pre-pandemic forms of live literature did. There was kilig to be found in revisiting well-known couples, even in depressing circumstances. As the community engage together with these new epilogues and share their affective reactions, their social ties are reinforced – even when they are forced to be separated. References “ABS-CBN: Philippines’ Biggest Broadcaster Forced Off Air.” BBC, 5 May 2020. 22 Mar. 2021 <http://www.bbc.com/news/world-asia-52548703>. Anjani, Laurensia, et al. “Why Do People Watch Others Eat Food? 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