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This artist's reflection further explores the imagined and sensorial encounters of the body in medicine through a creative practice-led feminist, embodied, and intersubjective approach to filmmaking. It uses "corporeal parenthesis" as form and content to destabilize conventional readings associated with medicalization. The sensations we feel on the inside of the body shape our imagined anatomical understanding. This extension of proprioception is a sensorial way of seeing and experiencing the inside of one's own body. The visceral body, which entwines our real and imagined bodily inside, is positioned as a site for sense-making. This emphasizes knowledge as imaginative, intuitive, and lived to resist the standardization experienced within medicine. However, the passive horizontal body in the clinical encounter and the presumed intimacy of the therapeutic space, assumes the body to be accessible and consenting. This alters the ways in which we experience senses associated with pleasure and non-pleasure. By focusing on the artist's moving image work O (Symptom), creative practice is used to examine in, through, and between the spatial and sensorial boundaries of the medicalized body. [ABSTRACT FROM AUTHOR]

With the rapid advancements in information technology and communication technology, the utilization of moving image visual communication has become widespread across various domains. In this context, optical sensing technology plays a pivotal role due to its remarkable attributes including high speed, vast capacity, and minimal delay. Thus, this research aims to enhance the optical sensing effect and edge detection accuracy in moving image visual communication by leveraging AI recognition and an optical sensing image edge detection algorithm. For this purpose, an AI recognition algorithm is implemented to train the model to identify the objects present in the moving images, enabling the localization of target objects within the optical sensing images. Consequently, the edge information of the target object is extracted from the photosensing image by employing an edge detection algorithm. Subsequently, the edge information of the optical sensing image undergoes processing and optimization to enhance the accuracy of edge detection. Through experimental results, it is demonstrated that the proposed approach, which integrates AI recognition and an optical sensor image edge detection algorithm, effectively identifies and localizes target objects within the optical sensor image, consequently improving the accuracy of edge detection outcomes. Furthermore, in comparison to conventional methods, the proposed methodology exhibits superior performance in optical image edge detection. [ABSTRACT FROM AUTHOR]

During the Covid-19 pandemic, many researchers and scientists took advantage of technologies made available on the web to combat misinformation, including winning over a significant portion of the young public. From this perspective, this article analyzes the most liked and commented video on the profile of tiktoker Antonio Miranda, published during the pandemic. The objective is to analyze and discuss how the semiotic resources configured in the video contribute to the construction of meaning and the practice of popularizing science in the digital environment, through TikTok. The theoretical foundation of this study is Multimodal Social Semiotics (Burn, 2013; Hodge; Kress, 1988; Kress, 2010; van Leeuwen, 1999), which focuses on communicative social practices of creating meanings of all types, be they verbal, visual and/or sound. The most recurrent semiotic resources in filming and editing point to a powerful interaction between Antonio and the viewer, characterized by involvement, proximity, relaxation, devoid of power hierarchies, as if their worlds were familiar, similar and coinciding. Furthermore, gestures, voice and verbal language play the role of transmitting credibility, emphasizing key words and providing opportunities for fluidity and assertiveness in understanding the explanation. In this way, Antonio's video uses semiotic choices that distance him from the "ivory tower", where scientists are supposed to be located, to get closer to the street, people and their daily lives. [ABSTRACT FROM AUTHOR]

Philosophical and technoculture studies surrounding the existential understanding of the human–technology–world experience have seen a slow but steady increase that makes a turn to material hermeneutics in the second decade of the twenty-first century (Ihde in Postphenomenology: essays in the postmodern context. Northwestern University Press, Evanston, 1993; Capurro in AI Soc 25(1):35–42, 2010; Romele in Digital hermeneutics: philosophical investigations in new media and technologies. Routledge, Abingdon, 2020; among others). This renewed focus makes sense because human–technology–world experiences need to be interpreted. And many of these are more complicated to study, precisely because technology is at the root of the experiences. One interesting subset of technologies is media technologies, also called digital media, which intertwines the device and the content to mediate together in the world (Irwin in Digital media: human-technology connection. Lexington Books, Lanham, 2016). Visual media technologies and media content, together, through what is called moving image technologies, create virtual role-playing, virtual and augmented reality, video games, and social media focused worlds that have become central experiences in contemporary culture. Just as image-based scientific instruments read the world in different ways, so to do these visual mediated experiences. How might this comingled "reading" of technology explain the digital film language and experience? I contend that understanding the existential "early" film experience helps understand the new age of cinema, with implications for digital media, digital representation of the visual, and technoscience and technoculture studies. The material hermeneutics perspective called postphenomenology is one way to study these visually focused human–technology–world perceptual and interpretive experiences. Don Ihde's methodological framework (1990, 1993, 1996, 2002, 2010, 2012, 2016, 2019) is both an idea from technoscience studies and a set of nuanced vocabulary that helps to explore and reveal variations, patterns, and trajectories of the whole-body experience of technology. This use case will first explore traditional cinema and then the "new age" term "moving image", to learn more about this complicated and radically transforming technological experience. Work by Don Ihde and Vivian Sobchack is considered. [ABSTRACT FROM AUTHOR]

Histories of sound film often emphasize a cautious approach by unaligned studios, which analyzed two technically equal systems (RCA and Western Electric) and then chose ERPI for nontechnical reasons. This view bolsters a narrative of stability during the transition. However, GE/RCA's late entry into the market without a finalized design enabled major studios to explore alternate approaches to sound. While GE/RCA's experiments kept open alternate visions for film sound, they delayed the refinement of its system. The decision to sign with ERPI was really a choice to commit to sound in 1928 rather than waiting for GE/RCA to finalize its system. [ABSTRACT FROM AUTHOR]

The combination of music and the moving image is prevalent in our society, occurring in visual art forms and media such as movies, music videos, and commercials. The relationship between the two has received much interest in existing research, but the focus has mainly been on the influence that music may have on the experience of the moving image. The present study adopts the reverse approach, and examines the potential impact the moving image may have on emotions felt and perceived while listening to music. Sixty-six participants were presented with three music excerpts that were introduced either alone or paired with one of two videos aimed to elicit strong emotions (either awe or being moved). The music excerpts were played a second time (without visual accompaniment) to investigate whether a possible influence of previously presented visual information was persistent. The results revealed that the moving image did have an intensifying effect on emotions induced (both awe and being moved) while listening to music. A significant negative effect on perceived valence and enjoyment was found for the least congruent music & video pairing. Interestingly, this incongruent pairing had the most persistent influence, being the only significant carry-over effect during the second presentation of music alone. [ABSTRACT FROM AUTHOR]

Luxury and designer fashion brands today produce as much digital content and branded entertainment as they do design and product. Online video is a key part of that production. In this article, the author questions whether the use of the generic term 'fashion film' is still relevant to discussions of the moving image in the digital age. He does this by examining a range of promotional uses of the moving image by the fashion industry – by brands such as Gucci, Burberry and Louis Vuitton – on the social media platforms Instagram, YouTube and Snapchat, which blend design with media. This article seeks to engage critically with the branded dominance of 'fashion film' as a commercial phenomenon in contemporary visual culture by positioning it as a shape-shifting form of 'content' through the dissemination of moving images on social media, on mobile image-sharing platforms, in which the visual dynamic of the feed (of marketing and data) is now, in part, superseding the aesthetic framework of cinema (of narrative and drama). Rather than situating it primarily as part of film history, here the author situates the contemporary fashion-moving image at the intersection of digital interactivity, fashion branding and celebrity influence. [ABSTRACT FROM AUTHOR]

The essay explores the process of curating Misbehaving Bodies: Jo Spence and Oreet Ashery, an exhibition held at Wellcome Collection from May 2019 until January 2020. The exhibition brought together two artists of different generations who explored the representation of illness and care narratives from the perspectives of patient and lived experience. The project was cocurated by Bárbara Rodríguez Muñoz and George Vasey. The Wellcome Collection challenges how people think and feel about health and this essay explores how the exhibition built upon those ambitions. The text addresses how the content of the exhibition was supported by the various exhibition elements: narrative, process, architecture and design, interpretation and live programming. [ABSTRACT FROM AUTHOR]

How can the heightened time–space correlation of (armed) conflict, if at all, be represented in an art context? This article explores how Chantal Akerman's multi-channel installation NOW (2015) can be read in view of Gilles Deleuze and Félix Guattari's (1988) 'war machine', a concept suggesting a rebellious strategy defined by nomadic existence and acted out against the State and its involvement in capitalist control systems. In this context, nomadic dwelling with its enhanced sense of 'smooth space' offers geographical, psychological and audio-visual dimensions. Aiming to examine a range of takes on the political, economical and existential dimension of warfare within contemporary art, the discussion draws parallels with moving image works by Harun Farocki, Anri Sala, Regina José Galindo and Elizabeth Price. A mapping of the proposed theoretical framework across individual case studies allows for a rigorous examination and differentiation of audio-visual and conceptual methodologies and their phenomenological implications. [ABSTRACT FROM AUTHOR]

Francis Alÿs, a Belgian living in Mexico for more than thirty years, is a contemporary artist with a performance-based career, where he also includes a simple type of animation. The interaction between his animated films and the rest of his work place the first ones in an intertwined territory, letting them connect to other artistic registers, as well as transforming them by extending their possibilities within drawing. This relation makes their categorisation difficult, so that they avoid rigid classifications. Lastly, the fact that all selected animations are structured as loops generates a particular type of viewing, in which spectator plays both with dispossession and the illusion of control of the image. [ABSTRACT FROM AUTHOR]

The human sensory experience of submolecular phenomena is only possible through complex technological mediations that include not just magnifications, but also manipulations of time and translations from one sense to another. In my creative moving image project Wildly Oscillating Molecules, I develop strategies for using an atomic force microscope (AFM) as a cinematographic instrument, specifically using its tactile mechanisms to generate video. Using the AFM over four years to generate experimental moving image installations, I examine my physical and psychological experiences of this nanoscientific instrumentation. Although referred to by the philosopher of technology Don Ihde, the AFM's style of technological mediation has not been subjectively explored. Working to engage with an infinitesimal scale, the AFM has a unique style of spatial and temporal mediation that can be manipulated through the post-production and exhibition practices of the moving image. Wildly Oscillating Molecules provides insight into how the AFM influences human spatial and temporal perception of nanoscale phenomena and provides a new framework with which to analyse nanoscientific imaging practices. Understanding the nuances of technological mediation encourages science artists working with submolecular phenomena to adopt, evolve or transform properties of technological mediation when presenting their work to an audience. [ABSTRACT FROM AUTHOR]

Now that fifty out of the nearly one hundred films in Ladislas Starewitch's filmography are available, now that recent exhibits of non-film material from the collection Martin-Starewitch have been presented to thousands of people, in various parts of the world, at least, a new approach to Starewitch's work, to his personal conception of cinema, his view of the world and imagination can be attempted. Now we can better understand his crucial place in cinema history and why various actual major directors refer to Starewitch as the master. Between his fantastic visions, realism and poetry, following the path of childhood and thanks to his prodigious ability in animating, his work is unique. [ABSTRACT FROM AUTHOR]

Since the 60s, the practice of video evolves in continuous discord with the television lan-guage and introduces terms such as "multimedia composition", since it brings together different contemporary expressions. The video artists predicted the situation of the cur-rent "information superhighway." The video art shows in a disturbing way a creativity that we could call "wild" and is considered a pioneer of the hybrid transmedia character. This article deals with the identity of the videographic practice and analyzes the Barcelona Loop Festival, and in particular, the contest of the year 2013. The methodology has been based on the bibliographic review and the subsequent analysis of the predominant axes that make up the narratives of the sample. Analyzing the video pieces of the Loop Festi-val that was born in 2003, in Barcelona, as the first worldwide fair dedicated exclusively to video art, allows us to take the pulse of the trends adopted by the moving image and to know the creative fundamentals that artists currently put into practice. [ABSTRACT FROM AUTHOR]

There are some problems in arm’s dynamic tracking of shooting action, such as inaccurate tracking, etc., a tracking and marking method based on label correction and region confidence of image sample for arm’s moving image contour of shooting action is designed. In the tracking process of the shooting action, the similarity calculation of shooting and boundary matching error judgment are based to make positioning of the joint point of arms. According to the curve fitting method, the arm’s dynamic parameters of the shooting action are extracted on the results of tracking and positioning. Experimental results show that the proposed method can effectively improve the tracking error caused by the shift after error accumulation and the tracking loss after target occlusion, and the accuracy of arm’s dynamic tracking is effectively progressed. [ABSTRACT FROM AUTHOR]

The problem of large error in automatic tracking and positioning of moving targets in complex environment is discussed. A method of target tracking and positioning based on probability analysis for moving images in complex environment is proposed. The likelihood and prior probability characteristics of moving target under complex background is calculated, and the optimal label of foreground jitter image contour is calculated using probability theory to identify the target region of moving image of the current frame in the complex state, and effectively complete the moving image tracking and marking in complex state. Experimental results show that the proposed method can accurately predict foreground objects in complex images, and improve the stability of target tracking. [ABSTRACT FROM AUTHOR]

By mixing the words of seven contemporary composers (Brasset, Calon, Fano, Lepage, Lizée, Lussier, Piché), this survey questions the interactions between the visual movements and the sound fluctuations, the stakes of the musical composition for the image, the singular characteristics of the audiovisual perception and the effects of the image (material or mental) on the process of composition. By listening to these composers describing their approach of creation, we discover that the image can be an energy, a concrete material, a substratum, a resultant of the musical listening, a historic artefact, a score, a narrative vector, one stratum in a multimedia complex . . . [ABSTRACT FROM AUTHOR]

This essay investigates the ways in which contemporary artistic practices have been working towards an epistemic and ethico-political decolonization of the present by means of critical examinations of several sorts of colonial archives, whether public or private, familial or anonymous. Through the lens of specific artworks by the artists Ângela Ferreira, Kiluanji Kia Henda, Délio Jasse, Daniel Barroca and Raquel Schefer, this essay examines the extent to which the aesthetics of these video, photographic and sculptural practices puts forth a politics and ethics of history and memory relevant to thinking critically about the colonial amnesias and imperial nostalgias which still pervade a post-colonial condition marked by neo-colonial patterns of globalization and by uneasy relationships with diasporic and migrant communities. Attention will be paid to the histories and memories of the Portuguese dictatorship and colonial empire, the liberation wars / the "colonial" war fought in Angola, Mozambique and Guinea-Bissau between 1961 and 1974, the Carnation Revolution in Portugal in 1974, the independence of Portugal's former colonies between 1973 and 1975, and the mass "return" of Portuguese settlers from Angola and Mozambique in 1975, without losing sight of apartheid South Africa and the ways in which the Cold War played out on the African continent. [ABSTRACT FROM AUTHOR]

The elevator door protection system is one of the most important system in the elevator, the elevator door protection system based on image processing technology has good application prospects. Oriented to large storage capacity and strong dynamic characteristics of image technology in the process of elevator door protection, in this paper, a kind of elevator door protection system based on dynamic image recognition is brought forward. Modified median filtering method is established to filter the image noise and to hold on the boundary clearly. Otsu method is adopted for global threshold segmentation. Relying on background subtraction method and temporal difference method, the dynamic target identification model is set up. Combined with region growing segmentation algorithm, the dynamic target's movement is detected on time. The test platform is built up for the elevator door protection system. The experimental results show that the image identified process would be finished by detecting 3 frames of images. And the reliability of system is proved out with different velocity of moving. [ABSTRACT FROM AUTHOR]

The consolidation of Videoart within the contemporary art scene has been a salutary lesson in the case of both Visual Arts and New Technology. The transition from the analogue world to a digital universe has dealt an explosion of formats and typologies in the specific field of audiovisual creation. At the same time, the incorporation of digital image to the normal screening schedule forces us to reformulate, within our cultural imaginary, the traditional limits and borders imposed on the audiovisual image such as cinema/video or fiction/documentary categories. Our research is a result of a video retrospective overview from its origins as experimental creative medium until its constitution as icon of the Spanish Art scene. From an interdisciplinary perspective, we focus on its intrinsic properties and characteristics that make impossible its categorization within the structures that currently govern the audiovisual production chain. [ABSTRACT FROM AUTHOR]

Using a number of his recent site-specific installations, conceptual artist and theorist Victor Burgin discusses the status and future of the camera from photography to moving image to computer-generated virtual works that combine both still and moving images. In the process he modifies Bazin’s question ‘What is cinema?’ to ask ‘What is a camera?’ These works extend and develop Burgin’s long-standing interest in the relationship of aesthetics and politics as rendered through visualization technologies, especially as it pertains to space. Burgin’s discussion constructs a genealogy of seeing, visualizing and image-making as technologically-determined and crafted. The ideology of vision and the ideological artefacts produced by and through visual technologies from perspectival painting to analog photography to computer imaging constitute, in Burgin’s argument, ‘the ideological chora of our spectacular global village’. [ABSTRACT FROM PUBLISHER]

This paper discusses the teaching of various short workshops in the Baltic States (as well as many others taught elsewhere) in the specific combination of interactivity and moving image. The workshops combine theoretical and practical approaches - a functional prototype of an 'interactive film' is produced by students - and have been run by the author in Tallinn, Tartu, Rīga, Liepāja and Vilnius from 2002 until the present day. Methods of teaching such workshops will be discussed with particular reference to whether off-the-shelf software or custom programming is involved - referred to here as 'Black-Box' and 'Bits&Bytes' approaches. Workshop outcomes will be compared and contrasted according firstly to the types of interactive films created by participants, and secondly between the results from workshops in the Baltic States and those taught elsewhere (by the author) in Europe. [ABSTRACT FROM AUTHOR]

This paper traces key features of the BFI's evolving strategies for film education in UK schools during the final 25 years of the analogue era. Historically, the BFI did much to establish the characteristics of film study, but it also embodied tensions which have continued to preoccupy educators, such as the relationship between the instrumental use of film to support the curriculum, and learning about its intrinsic and distinctive qualities as a medium, or about its ideological function in society. The paper also addresses the question of whether «film» on its own constitutes a valid area of study, or whether it is more properly studied alongside television as part of «moving image media». The BFI has played a key role in exploring these issues and in exemplifying how film, or moving image media, can be taught to younger learners, but the internal vicissitudes it has constantly experienced have always pulled its educational activities in different directions. The central argument of this paper is that film education -and indeed media education in general- should be an entitlement for every learner, not something offered only to a minority or provided as an optional extra. The key projects described in this paper indicate some of the ways in which a publicly funded cultural institution can intervene in educational policy and practice. [ABSTRACT FROM AUTHOR]

The central focus is to look at how the migration of the moving image from the cinema to the gallery has changed its nature, in particular with a view to defining how the moving image effects and represents space and place. The screen is seen as a key element in this change and one that reveals the image as an absence as well as a presence. Using Bernard Stiegler's theory of technics, and the relationship between the organic and the inorganic, I argue for a revealing of the technology of reproduction to add a sculptural dimension to moving image work in the gallery. I explore these issues by referring to my video work and to the work of other film-maker/artists (Jane and Louise Wilson, Patrick Keiller and Graham Ellard and Stephen Johnstone), who have engaged with the moving image and the screen as a material form. [ABSTRACT FROM AUTHOR]

Primary objectives: The objective of this study was to compare the clinical usefulness, in the field of epileptology, of digital moving images and electroencephalogram (EEG) waveforms by Motion Pictures Expert Group compression algorithms (MPEG-1 and MPEG-2) to that of conventional analogue recording. Research design and methods: Three epileptic seizure scenes consisting of moving images and the corresponding EEG waveforms in an epileptic patient were selected as the images to be evaluated. Each scene was recorded using MPEG-1, MPEG-2 and videotape. Ten doctors used six criteria to evaluate the quality of moving images, EEG data and audio. Main outcomes: Analysis of variance and Bonferroni tests indicated that the image quality of MPEG-2 was superior to that of MPEG-1 or videotape for all criteria. Furthermore, MPEG-2 obtained much higher scores in EEG waveform quality than did the other modalities. Conclusions: Our findings suggested that data from MPEG-2 images will lead to more precise diagnosis and treatment decision-making than data from analogue videotape recordings. [ABSTRACT FROM AUTHOR]

This essay proposes digital video (DV) as a new centre of gravity for the design/production process of architecture and its kindred arts. DV's capacity to work with synthesised and captured images, that can be modelled and reverse engineered, offers a powerful mode of exploration, iterative development and communication for information-rich projects that depend on a complex mobilisation of team skills and technical resources. The promise of DV is that it taps into the great fund of visual/operational knowledge held in the culture at large, and that it can enable the design/production process to become more responsive and more open to a wider group of interested parties. The essay argues that the fulfilment of this promise becomes increasingly urgent as our moving-image-saturated environment melts the boundaries of place and time, and dissolves the distinctions that separates the permanence of architecture from the transience of events. [ABSTRACT FROM AUTHOR]

Cucumber powdery mildew, which is caused by Podosphaera xanthii, is a major disease that has a significant economic impact in cucumber greenhouse production. It is necessary to develop a non-invasive fast detection system for that disease. Such a system will use multispectral imagery acquired at a close range with a camera attached to a mobile cart's mechanic extension. This study evaluated three image registration methods applied to non-georeferenced multispectral images acquired at close range over greenhouse cucumber plants with a MicaSense® RedEdge camera. The detection of matching points was performed using Speeded-Up Robust Features (SURF), and outliers matching points were removed using the M-estimator Sample Consensus (MSAC) algorithm. Three geometric transformations (affine, similarity, and projective) were considered in the registration process. For each transformation, we mapped the matching points of the blue, green, red, and NIR band images into the red-edge band space and computed the root mean square error (RMSE in pixel) to estimate the accuracy of each image registration. Our results achieved an RMSE of less than 1 pixel with the similarity and affine transformations and of less than 2 pixels with the projective transformation, whatever the band image. We determined that the best image registration method corresponded to the affine transformation because the RMSE is less than 1 pixel and the RMSEs have a Gaussian distribution for all of the bands, but the blue band. [ABSTRACT FROM AUTHOR]