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This study investigates the propagation characteristics of rectangular Hermite-Gaussian array beams (RHGABs) through the oceanic and atmospheric turbulence considering ocean waves. Firstly, a theoretical model for the RHGABs in seawater-to-air propagation path is proposed. Secondly, we derive the expressions of the mean squared beam width and angular spread of RHGABs by using the extended Huygens-Fresnel principle and Rytov approximation. Finally, the effects of turbulent mediums on the RHGABs spreading are studied by analyzing the Rayleigh range. Our findings suggest that the Rayleigh range increases with the beam order of RHGABs. And the mean squared beam width of RHGABs in oceanic turbulence increases significantly higher than that in atmospheric turbulence. The results of this research can be applied to underwater optical communication systems.

The development of information and communication technologies and the digitalization of the media space create new opportunities for the popularization of scientific knowledge. There is an objective need to study popular science journalism as an activity that develops a multimedia network format and various media content distribution channels. The work is aimed at analyzing the features of the development of popular science journalism on the Internet in the context of cross-media. The study employed general scientific methods (analysis and synthesis), a method of studying documents with elements of content analysis, a comparative method that includes a comparison of different types of content, as well as data from social network and messenger analytics services. The authors studied media channels and ways to promote media content, its ideological, thematic, and structural characteristics, the features of its transformation on high citation index ratings scientific-oriented platforms Nplus1.ru and Naked-science.ru. As a result of the conducted research, it was discovered that the audience involved in the studied online media is carried out through a differentiated cross-media presence, the use of rewriting, and reposting processes. Particular attention was focused on the comparative analysis of the media content of official websites, accounts in the social network VKontakte, and Telegram messenger.

Social networks have surpassed their intermediary role and become gatekeepers of online content and traffic. This transformation has favored the spread of information disorders. The situation is especially alarming in Spain, where 57% of Spaniards have at some moment believed false news. Since 2016, First Draft has promoted several collaborative verification projects that brought together newsrooms to fact-check false, misleading and confusing claims circulating online during presidential elections in several countries. The main objective of this article is to study the collaboration forged between newsrooms in Spain in order to debunk disinformation contents in 2019 under the name of Comprobado (Verified) and the impact of this initiative. Applying a methodological approach based on non-participant observation, interviews, content analysis of reports, scientific articles, books and media archives, we examine the internal uses of this platform, how journalists verified public discourse, the strategies and internal agreements implemented, and the degree of participation of the 16 media involved. Results show that only half of the initiatives begun were transformed into published reports, and the media impact achieved was limited. Finally, we note that the principal reasons for the frustration of the project were its improvised implementation, due to the date of the election being brought forward, and the scant culture of collaboration in the sector. In Spain at least, cross-media alliances are still an exception.

This article analyzes the media market of Ukraine during the period from 2018 to 2020. The study includes social and political phenomena that had an effect on media consumption in Ukraine. Firstly, at the end of 2018, the presidential election campaign contributed to the mass digitalization of the country. Then at the begging of 2020, news consumption was highly increased due to the situation with coronavirus pandemic. The article provides statistics on the Ukrainization of media content.

Attribute learning has improved the performance in scene understanding and scene recognition. However, there are many attributes described by words or short texts in a static scene and traffic crowd scene. If there are two similar scenes, the semantic relationship topology structures of corresponding attribute groups of the two scenes are also homogeneity. But it is difficult to learn a semantic relation topology projection across semantic text data and visual data. To solve the problem, we construct approximate homeomorphism mapping based on the scene attributes semantic relational regularization. Hence, we propose a novel attribute semantic topological relationship regularization based scene attribute semantic learning(ARSL) method for scene semantic understanding. We establish a transport and travel scene recognition model based on attribute semantic features which are achieved by the proposed ARSL algorithm. In order to verify the proposed method, the experiments are implemented on the static transport-travel scene dataset and dynamic transport-travel crowds scene dataset respectively. The static transport-travel scene dataset is constructed by the SUN Attribute dataset including images and texts. However, the dynamic transport-travel crowds scene dataset is constructed through the WWW Crowd dataset including videos and texts, and the dynamic transport-travel crowd scene dataset is named as the WWW Crowd-Sub dataset. The performances of the proposed method are improved by 38.48% and 17.51% on the SUN Attribute dataset and WWW Crowd-Sub dataset respectively. The experimental results on the SUN Attribute dataset and WWW Crowd-Sub dataset demonstrate that the proposed approach has superior performance compared to state of the art. It can be demonstrated that the performance of the proposed ARSL method is effective against static transport-travel scene and dynamic transport-travel crowd scene.

This article is dedicated to one of the essential problems of improvement of the quality of education in the higher educational institutions in Ukraine nowadays that is the introduction of crossmedia into the educational process. In the article, based on the author's own experience, the essential characteristics of the cross-media, the importance of the formation of cross-media competencies in the Humanities graduates are disclosed and the effectiveness of the introduction of cross-media as an innovative technology in their training is analysed. The peculiarities of transformation and modernization of the modern didactic space are described, Ukrainian and foreign scientific and methodological works on the problem of the introduction of cross-media technologies into the educational process are reviewed, the theoretical aspects of this problem are studied, preferable sources of information and most popular platforms among students based on content analysis of ethnocentric questionnaire (hand delivered questionnaire) are revealed. An emphasis is made on the necessity to conduct media education in formal, informal and accidental ways, which lead to the formation of one’s own media product in the sphere of one’s personal interests. The author also paid special attention to the package of licensed programmes such as AdobeAudition, InDesign, Photoshop, AdobePremiere for the production of the multimedia content of high quality. On the basis of the new technological equipment the students who obtain higher education have an opportunity to realise their students’ media projects and create the journalist content in such forms as: printed production with the on-line version, video- and audio-podcasts, infographics, videoconnection, webinars etc. The effectiveness of the student-centered attitude in the educational process that motivates the future specialists to self-knowledge, self-development and self-education is substantiated. It is proved that the introduction of such technologies affects the modernization of the educational process in the higher education institution, provides the maximum approximation of education to the conditions of the future career.

Media economics is the study of choices, what incentives and disincentives influence them, and how to make better choices to inform company decisions, public understanding, and policymaking. The present paper reviews the development of the field since the beginning in the 1970s with scholars such as Alfonso Nieto at the University of Navarra, Nadine Toussaint Desmoulins at the University of Paris 2, and Karl Erik Gustafsson at the University of Gothenburg to the emerging of the field with more scholars from different countries. Nowadays the field of media economics research has matured and become multifaceted, encompassing a wide variety of theories and approaches necessary to explore multiple developments and issues in media structures and operations. It is particularly relevant because media and communications are amid a massive transformation created by technology, social changes, and changes in demand. Expansion of commercial media and personal communications, new means of production and distribution, and new economic arrangements are altering well established relationship and interactions in media. This situation requires clear mindedness and knowledge to comprehend the developments and to develop the best individual, firm, and social responses to the challenges arising from the changes.

The article examines the perspectives of cross-media in the field of political journalism and positioning of relevant publications in the modern media. It focuses on the psychological aspects of perception of materials of political journalism by the readership. The basic description of media tools for improving journalistic publications of political content is represented. In the sphere of political information the transition from traditional to the newest forms of information exchange, in which communications, based on technological mechanisms, become the priority. In different countries of the world, the information environment is modified in terms of new technologies, which are gradually moving into the Ukrainian information space. In journalism it is traced factually the transition into cross-media age. In the article, except the general definition of cross media as “the ability to distribute information in convincing, user-friendly and visually understandable form with various communication tools and platforms”, an alternative definition is proposed for a better understanding of this information phenomenon. The need for cross-media research in the field of political journalism is related to the general reformation of the Ukrainian information space into a cross-media version. The results of the study can be used in the form of addendum to journalist lectures in educational institutions, as well as as practical application in the work of young journalists, advertisers and publishers.

RESUMO:A partir da narrativa, Morde&Assopra (REDE GLOBO, 2011), vamos considerar a representação do conceito de robô parceiro/amigo. A presente análise vai alavancar-se nas duas personagens robô amigáveis: Zariguim e Naomi. É nossa intenção clarificar que Morde&Assopra oferece representações de robôs humanoides, atualizando o mito de Pigmalião e, assim, fornecendo, na era digital, uma resposta à demanda arquetípica pela imortalidade. Recuperando para a discussão a relação homem/máquina ou homem/parceiro e considerando que tanto o robô Zariguim como a robô Naomi surgem como personagens humanizadas no texto em estudo, por esse fato, julgamos estar em condições de poder evidenciar a urgência e pertinência da análise semiótica da face dos robôs à semelhança da que se desenvolve para a face humana. PALAVRAS-CHAVE: robô; narrativa transmedia; cross-media; semiótica; Morde&Assopra. ABSTRACT:From the narrative, Morde&Assopra (REDE GLOBO, 2011), we will consider the representation of the robot concept partner / friend. The present analysis will leverage the two friendly robot characters: Zariguim and Naomi. It is our intention to clarify that Morde&Assopra offers representations of humanoid robots, updating the myth of Pygmalion and thus provide, in the digital age, a response to the archetypal demand for immortality. Recovering for the discussion the relationship man / machine or man / partner and considering that both the robot Zariguim and the robot Naomi appear as humanized characters in the study text, therefore, we believe we can show the urgency and relevance of the analysis semiotics of the face of robots, like that which has being developed for the human face. KEYWORDS: robot; transmedia narrative; cross-media; semiotic; Morde&Assopra.

In order to meet increasing power-dissipation requirements of the electronics industry, compact, low-cost, and lightweight heat exchangers (HXs) are desired. With proper design, materials, and manufacture, polymer composite heat exchangers could meet these requirements. This paper presents a novel crossflow air-to-water, low-cost, and lightweight metal-polymer composite HX. This HX, which is entirely additively manufactured, utilizes a novel cross-media approach that provides direct heat exchange between air and liquid sides by using connecting fins. A robust numerical model was developed, which includes the dimensional effects of additive manufacturing. The study consists of a simplified 3D CFD model based on ellipsoidal-shaped staggered tube banks for the laminar range. It then uses an analytical approach to compute entire HX performance. The model is validated experimentally within 8% for thermal performance, 12% for air-side impedance, and 18% for water-side impedance. Finally, HX is compared with a conventional CPU radiator and performs within 10% of the conventional unit for reasonable flow rates and pressure-drop ranges. Moreover, HX also provides added design and cost advantages over the conventional unit, which makes the HX a potential candidate for electronic cooling applications.

The relevance of research is caused by the fact that cross-medіa has become an integral feature of informational space functioning. The main feature of cross-media is based on functioning on several media platforms. Specifically, the informational agency “112.ua” has eight of such media platforms: the web portal “112.ua”, the TV channel “112 Ukraine”, the mobile application “News 112”, the interactive application “Witness 112”, the youtube channel and the profiles in three main social networks. The multi-media audience adopts the cross-media characteristics. This happens also with the assistance of top management “112.ua”: they use the special techniques to encourage the users to take information from different platforms. The main objective of the study is to identify the factors that encourage the audience to use the multiple platforms of cross-media “112.ua”. The audience ratings were revised and using the calculation method it was determined that the TV channel “112 Ukraine” was the main platform with the biggest audience. The survey methodology helped to identify the most significant factors of attracting the cross-media audience: advertisement, announcement, availability, convenience, access to the archive. Using the method of classification, the factors were combined into several groups. The theoretical part and trends of cross-media were processed by using comparative-historical method and analysis of scientific literature. As a phenomenon cross-media is closely related to such terms as multiplatform, trans-media, convergence. The scientific works of Ukrainian and world researchers distinguish often a somewhat philosophical aspect of crossmedia from a purely technical phenomenon of multiplatform and transmedia. The main feature of cross-media communication is coverage of various media platforms. Another important element is users’ interactivity. The audience of multiplatform editionss has certainly the feature of crossmedia. Cross-media management encourages it to use several multiple platforms through such key factors as advertising, promotion, accessibility, convenience, ability to go back to missed or somewhat outdated topics. And the consumers come quite easily under this influence, because the world is changing and multiplatform becomes an integral part of functioning of information environment. This was proved by the example of the audience of the information agency “112.ua”. Only 10% of respondents do not show their mobility and ability to use several platforms of one cross-media edition.The results and conclusions of the study may be of interest for top management of multi-platform media and for those ones, who explore cross-media audience.

With the popularization of the Internet, permeation of sensor networks, emergence of big data, increase in size of the information community, and interlinking and fusion of data and information throughout human society, physical space, and cyberspace, the information environment related to the current development of artificial intelligence (AI) has profoundly changed. AI faces important adjustments, and scientific foundations are confronted with new breakthroughs, as AI enters a new stage: AI 2.0. This paper briefly reviews the 60-year developmental history of AI, analyzes the external environment promoting the formation of AI 2.0 along with changes in goals, and describes both the beginning of the technology and the core idea behind AI 2.0 development. Furthermore, based on combined social demands and the information environment that exists in relation to Chinese development, suggestions on the development of AI 2.0 are given.

Professionals in the television industry are working towards a certain future—rather than end—for the medium based on multi-platform storytelling, as well as multiple screens, distribution channels and streaming platforms. They do so rooted in institutional frameworks where traditional conceptualizations of television still persist. In this context, we reflect on the role of the national television archive as an agent of historical knowledge in the convergence era. Contextualisation and infrastructure function as important preconditions for users of archives to find their way through the enormous amounts of audio-visual material. Specifically, we consider the case of the Netherlands Institute for Sound and Vision, taking a critical stance towards the archive’s practices of contextualisation and preservation of audio-visual footage in the convergence era. To do so, this article considers the impact of online circulation, contextualisation and preservation of audio-visual materials in relation to, first, how media policy complicates the re-use of material, and second, the archive’s use by television professionals and media researchers. This article reflects on the possibilities for and benefits of systematic archiving, developments in web archiving, and accessibility of production and contextual documentation of public broadcasters in the Netherlands. We do so based on an analysis of internal documentation, best practices of archive-based history programmes and their related cross-media practices, as well as media policy documentation. We consider how audio-visual archives should deal with the shift towards multi-platform productions, and argue for both a more systematic archiving of production and contextual documentation in the Netherlands, and for media researchers who draw upon archival resources to show a greater awareness of an archive’s history. In the digital age, even more people are part of the archive’s processes of selection and aggregation, affecting how the past is preserved through audio-visual images.

There is no denying that television, as a medium and an institution, has drastically changed in the age of digitization and convergence. For audiences, this has not only opened up multiple opportunities to watch television content at other times and on other devices, but also to interact with its cross-media extensions. However, while much has been written about the new opportunities for audience engagement, we do not know much about the actual adoption of new technologies nor the motivations underlying such uses. Therefore, this paper draws on empirical audience research to address the key question: how do viewers engage with contemporary TV fiction? Through empirical audience research, using various qualitative research methods, three different aspects of the reception of cross-media TV fiction will be discussed: (1) how do viewers watch the TV episodes of contemporary TV fiction?, (2) how do viewers engage with the cross-media extensions of TV fiction?, and (3) how do viewers experience the social dimensions of contemporary TV fiction? We focus on a particular group, that of 'engaged' viewers, who are actively involved by personalizing their viewing practices, by communicating about it, by consuming cross-media elements of TV fiction, or producing TV fiction-related content. Our findings suggest that even this group does not make full use of all the available technological opportunities to personalize TV viewing, and that the classical TV text, linear viewing, and the social aspect of viewing remain of key importance.

RESUMO:A partir da narrativa, Morde&Assopra (REDE GLOBO, 2011), vamos considerar a representação do conceito de robô parceiro/amigo. A presente análise vai alavancar-se nas duas personagens robô amigáveis: Zariguim e Naomi. É nossa intenção clarificar que Morde&Assopra oferece representações de robôs humanoides, atualizando o mito de Pigmalião e, assim, fornecendo, na era digital, uma resposta à demanda arquetípica pela imortalidade. Recuperando para a discussão a relação homem/máquina ou homem/parceiro e considerando que tanto o robô Zariguim como a robô Naomi surgem como personagens humanizadas no texto em estudo, por esse fato, julgamos estar em condições de poder evidenciar a urgência e pertinência da análise semiótica da face dos robôs à semelhança da que se desenvolve para a face humana. PALAVRAS-CHAVE: robô; narrativa transmedia; cross-media; semiótica; Morde&Assopra. ABSTRACT:From the narrative, Morde&Assopra (REDE GLOBO, 2011), we will consider the representation of the robot concept partner / friend. The present analysis will leverage the two friendly robot characters: Zariguim and Naomi. It is our intention to clarify that Morde&Assopra offers representations of humanoid robots, updating the myth of Pygmalion and thus provide, in the digital age, a response to the archetypal demand for immortality. Recovering for the discussion the relationship man / machine or man / partner and considering that both the robot Zariguim and the robot Naomi appear as humanized characters in the study text, therefore, we believe we can show the urgency and relevance of the analysis semiotics of the face of robots, like that which has being developed for the human face. KEYWORDS: robot; transmedia narrative; cross-media; semiotic; Morde&Assopra.

Creative holography could still be considered a fringe medium or methodology, compared to mainstream art activities. Unsurprisingly, work using this technology continues to be shown together with other holographic works. This paper examines the merits of exhibiting such works alongside other media. It also explores how this can contribute to the development of a personal critical framework and a broader analytical discourse about creative holography. The perceived limitations of showing holograms in a “gallery ghetto” are explored using early critical art reviews about these group exhibitions. An international exhibition, which toured the United Kingdom (UK) and Australia, is used as a framework to expand the discussion. These exhibitions include examples of the author’s holographic work and those of artists working with other (non-holographic) media and approaches. The touring exhibition as a transient, research-informed process is investigated, as is its impact on the critical development of work using holography as a valid medium, approach, and methodology in the creative arts.

Este estudio histórico-diacrónicodescriptivo-analítico examina en los cartoons estrategias publicitarias indirectas consolidadas, encubiertas no regladas, emergentes, desconocidas y acciones cross-media y transmedia. La investigación evidencia que la modalidad indirecta es propia del cine europeo, mientras que la encubierta está en todas las filmografías, siendo el credit-roll la más abundante, aunque velada por su fugacidad; se encuentra gran presencia del product placement y brand placement, que apenas son perceptibles por su sutileza, apuntalada por el carácter animado de la imagen. Además de productos licenciados, se diseñan acciones de marketing interactivo (multiplataformas, Web 2.0) generando transferencias de consumo audiovisual en industrias adyacentes y circuitos anexos.

Este estudio histórico-diacrónicodescriptivo-analítico examina en los cartoons estrategias publicitarias indirectas consolidadas, encubiertas no regladas, emergentes, desconocidas y acciones cross-media y transmedia. La investigación evidencia que la modalidad indirecta es propia del cine europeo, mientras que la encubierta está en todas las filmografías, siendo el credit-roll la más abundante, aunque velada por su fugacidad; se encuentra gran presencia del product placement y brand placement, que apenas son perceptibles por su sutileza, apuntalada por el carácter animado de la imagen. Además de productos licenciados, se diseñan acciones de marketing interactivo (multiplataformas, Web 2.0) generando transferencias de consumo audiovisual en industrias adyacentes y circuitos anexos.

With the rapid development of the Internet and speedy increase of the data size, there are more and more data intensive applications which often involve hundreds of megabytes of data. It is important and necessary to obtain the retrieval results from cross-media data quickly and accurately. Large scale cross-media data retrieval based on Hadoop is proposed to speed up the retrieval in this paper. We divide cross-media feature extraction and cross-media retrieval into paralleled pipeline, and implement with the combination of the HDFS, HBase and MapReduce framework. To verify the performance of the proposed method, comparisons with stand-alone mode on different sizes of the image dataset are conducted, and the experimental results demonstrate the good performances of proposed method, which sharply decreases time-consuming, and meanwhile keeps the same query precision.

El Periodismo Institucional está redefiniendo sus canales de comunicación externos de la mano de Twitter, un servicio microblogging en auge. El artículo analiza el uso de esta herramienta en este campo, en un contexto marcado por la convergencia, que incentiva las estrategias cross-media y el diálogo con los usuarios. Se basa en la experiencia del gabinete de prensa del Servei Català de Trànsit (SCT), la principal fuente sobre movilidad en Catalunya. La metodología escogida para desarrollar el trabajo es la del estudio de caso. Concretamente, combina la entrevista con el análisis del contenido de los tuits difundidos por el organismo durante la segunda quincena del mes de junio de 2012. La principal conclusión apunta a que Twitter se utiliza básicamente como complemento a los contenidos distribuidos a través de la página web, sin apenas opciones al diálogo público ni con usuarios ni con periodistas.

Las corporaciones televisivas tradicionales han encontrado la forma de dar elprimer paso hacia la cross-medialidad, instituyendo departamentos específicospara la producción, adaptación y distribución de sus contenidos en internet y enlas diferentes plataformas. Las compañías de servicio público siguen la mismatendencia para poder cumplir con la misión del servicio público así como parapoder competir en el nuevo entorno. El objetivo de esta investigación es cono-cer la estructura organizativa de la compañía de servicio público Italiano Raien relación a la producción cross media. Este trabajo pretende estudiar cómola compañía adapta su estructura organizativa a la producción a 360 grados ydescribir la estructura organizativa de la compañía para la producción de estoscontenidos. La metodología se basa en observación participante en los departa-mentos involucrados y entrevistas en profundidad con diferentes profesionales

Las corporaciones televisivas tradicionales han encontrado la forma de dar elprimer paso hacia la cross-medialidad, instituyendo departamentos específicospara la producción, adaptación y distribución de sus contenidos en internet y enlas diferentes plataformas. Las compañías de servicio público siguen la mismatendencia para poder cumplir con la misión del servicio público así como parapoder competir en el nuevo entorno. El objetivo de esta investigación es cono-cer la estructura organizativa de la compañía de servicio público Italiano Raien relación a la producción cross media. Este trabajo pretende estudiar cómola compañía adapta su estructura organizativa a la producción a 360 grados ydescribir la estructura organizativa de la compañía para la producción de estoscontenidos. La metodología se basa en observación participante en los departa-mentos involucrados y entrevistas en profundidad con diferentes profesionales