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Copyright of Turkish Online Journal of Design, Art & Communication is the property of Turkish Online Journal of Design, Art & Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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]

Medical image registration is the process of aligning multiple medical images, volumes, or surfaces to a common coordinate system. In multiple medical image analysis applications, image registration plays a significant role. For medical image registration, conventional approaches are chiefly optimization-driven, which finds the optimal deformations that exploit the similarity between two images. Accordingly, this paper plans to develop a novel optimization approach for the registration, with the assistance of two images, such as a reference image as well as a moving image. Here, the Convolutional Neural Network (CNN) features are extracted from transformation-applied image and the reference image. Then, with the assistance of the proposed multi-similarity model, a similarity between the features of the transformed image and the reference image is found. For the proposed multi-similarity model, the Logarithmic Normalized Mutual Information (LNMI), Modified Normalized Mutual Information (MNMI), and Tversky's feature contrast model are used. Finally, the proposed Double Exponential-Dynamic Group Based Cooperative Optimization algorithm (DE-DGCO), which is developed by combining Dynamic Group Based Cooperative Optimization (DGCO) and Double Exponential smoothing (DeS) is used to update the weight and the transformation parameters. Finally, experimentation is done to test the efficiency of the proposed model. Here, the DE-DGCO algorithm attained enhanced performance than the traditional techniques regarding maximum PSNR value of 47.737; dice score value of 0.855, and minimal RMSE value of 0.113. [ABSTRACT FROM AUTHOR]

The perception of time undergoes a radical shift between the human scale and the nanoscale. In an age of rapidly evolving media and scientific technologies, we need to understand how these impact human perception and visual culture. This essay explores computational molecular simulations through the lenses of temporal media theory and moving image practice. Emerging from a creative fellowship with a physical chemistry research group, I focus on two moving image works that depict crystalline structures. One is a nanoscale computational simulation of soot formation and the other is a durational video artwork showing the dissolution of sugar. Computational molecular simulations are shown to produce a feeling of time by smearing an extremely short duration across a longer perceptible duration. This analysis uncovers how the awareness of media as a construct troubles our chronoception (perception of time), while unexpectedly, the screen becomes complicit in scientists' expert temporal understanding. The videos present vastly different spatial and temporal scales and have different chronoceptive effects: one gives a sense of being within time, the other across time. Ultimately, computational simulations emerge as isomorphic media that have explicit aesthetic properties that connect us to the implicit, abstract energetics of chemical reactivity. [ABSTRACT FROM AUTHOR]

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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]

This article examines how the digitally manipulated family photograph functions as a means of understanding the temporal instability of the use and interpretations of photographic images. It begins by taking a close look at scholarly debates on how 'credible' the documentary value of a still photograph is, as well as how it is able to emotionally resonate with spectators. From this discussion, it becomes important to look at a key example of how an image can produce an emotional effect on a viewer; in this case, photographs of individuals' deceased family members. While exploring how this allows the spectator to reconnect with their relatives, it is also crucial to acknowledge that readings of images like these are often determined by reductive interpretations of their stillness. As the consideration of photographs as 'documents' has been contested for an extensive amount of time, it is illuminating to turn to the properties of digital photography by inspecting the photo manipulation feature 'Deep Nostalgia' on the MyHeritage app that circulated around TikTok in 2021. I look at a YouTube compilation of people reacting to seeing photographs of their family manipulated in a way that gives the impression that they are moving and emoting, alongside discussions about this in recent pop culture articles. By taking a Barthesian reading of the extended temporality of these family photographs, it is important to recognise that the connection between the subject and the image is severed both iconically and indexically from its original context. However, by understanding this photographic image in the context of being digital it must be understood differently. I will therefore use the MyHeritage phenomenon as a means of arguing that the digital image is not inferior to the 'realism' of analogue photography and must, instead, be read in relation to the history of technological change. [ABSTRACT FROM AUTHOR]

This article examines the presentation of a personal photographic archive via the temporal and virtual space of social media through Our Days of Gold, an ongoing durational artwork constituted of a cluster of three interconnected Instagram accounts: @ourdaysofgold_film, @ourdaysofgold_digital and @ourdaysofgold. The project interweaves two separate temporalities: the social media accounts started in April 2017 to mark the first anniversary of my mother Cécile Barbiaux’s sudden death, drawing on an archive of analogue and digital photography recording an image-making collaboration that took place between 2002 and 2007. Staging a group of family and friends, the images oscillate between everyday activities and improvised performances within the confines of a familial territory of old farmhouses, orange groves and gardens in Sorrento, Italy. While the accounts are anonymous, the images, shared daily, are accompanied by captions that centre Cécile, even when she is not in the frame. Cécile is staged as the mysterious and alluring protagonist of her own unfolding story. Through its activation of Instagram’s languages, communities, specific structure and affordances, Our Days of Gold, or ODOG, creates a virtual space for a temporal paradox, where the past becomes contemporary by being stretched to excruciating slowness over the duration of the present, with one summer afternoon taking over nine months to share at the glacial pace of an image a day. Over its long duration, ODOG has become a palimpsest overwritten with followers’ contributions and interpretations. Through the anonymity and reticence that accompany the sharing of an intimate personal archive, ODOG provides a space for conversations and interactions, but also for silent, private accumulation of memories, familiarity and attachment.

Copyright of Boletín de Arte is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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]

The perception of time undergoes a radical shift between the human scale and the nanoscale. In an age of rapidly evolving media and scientific technologies, we need to understand how these impact human perception and visual culture. This essay explores computational molecular simulations through the lenses of temporal media theory and moving image practice. Emerging from a creative fellowship with a physical chemistry research group, I focus on two moving image works that depict crystalline structures. One is a nanoscale computational simulation of soot formation and the other is a durational video artwork showing the dissolution of sugar. Computational molecular simulations are shown to produce a feeling of time by smearing an extremely short duration across a longer perceptible duration. This analysis uncovers how the awareness of media as a construct troubles our chronoception (perception of time), while unexpectedly, the screen becomes complicit in scientists’ expert temporal understanding. The videos present vastly different spatial and temporal scales and have different chronoceptive effects: one gives a sense of being within time, the other across time. Ultimately, computational simulations emerge as isomorphic media that have explicit aesthetic properties that connect us to the implicit, abstract energetics of chemical reactivity.

With the rapid development of sports, the number of sports images has increased dramatically. Intelligent and automatic processing and analysis of moving images are significant, which can not only facilitate users to quickly search and access moving images but also facilitate staff to store and manage moving image data and contribute to the intellectual development of the sports industry. In this paper, a method of table tennis identification and positioning based on a convolutional neural network is proposed, which solves the problem that the identification and positioning method based on color features and contour features is not adaptable in various environments. At the same time, the learning methods and techniques of table tennis detection, positioning, and trajectory prediction are studied. A deep learning framework for recognition learning of rotating flying table tennis is put forward. The mechanism and methods of positioning, trajectory prediction, and intelligent automatic processing of moving images are studied, and the self-built data sets are trained and verified. [ABSTRACT FROM AUTHOR]

Despite the widespread use of YouTube by children, there has been limited research undertaken on the "why" questions of their use. Past theoretical approaches have framed these questions in terms of broader individual needs and their relation to media use, though this work has mainly focused on adults and adolescents. This article presents relevant findings from a mixed methods study of children's (aged 0–16) uses of social media in the United Kingdom to consider instead the "purposes" of children's YouTube use, drawing on: (1) an online family survey; (2) family case studies; (3) child focus groups; and (4) child telephone interviews. "Purpose" is theorized in the article in relation to the ways children themselves make sense of and articulate the reasons they use YouTube or, in the case of parents and carers, for allowing, facilitating, or encouraging their children to use YouTube. Parents tended to frame the purposes of children's YouTube use more instrumentally, focusing on perceived educational benefits and their own convenience needs. While sharing a focus on instrumental purposes, children sometimes emphasized broader dimensions of purpose, with an increased focus on humor, sensory, and hedonic dimensions. Children's responses also emphasized the autotelic nature of play. The study foregrounded the extent to which the purposes of others (such as commercial entities) are served by children's YouTube use. Seven child-centered, parent-centered, and "other" purposes for children's YouTube use are discussed: cognitive, corporeal, cultural, collaborative, creative, commercial, and convenience. [ABSTRACT FROM AUTHOR]

Copyright of Diálogo com a Economia Criativa is the property of Dialogo com a Economia Criativa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The perception of an image obtained by scrolling through a small screen can differ from the typical perception of a wide visual field in a stable environment. However, we do not fully understand image perception by scrolling on a small screen based on psychological knowledge of visual perception and cognition of images. This study investigated how screen size limitations and image shifts caused by scrolling affect image encoding in visual long-term memory. Participants explored the stimulus images under three conditions. Under the scrolling condition, they explored the image through a small screen. Under the moving-window condition, they explored the image by moving the screen over a masked image; this is similar to looking through a moving peephole. Under the no-window condition, participants were able to view the entire image simultaneously. Each stimulus comprised 12 objects. After 1 h, the samples were tested for object recognition. Consequently, the memory retention rate was higher in the scrolling and moving-window conditions than in the no-window condition, and no difference was observed between the scrolling and movingwindow conditions. The time required by participants to explore the stimulus was shorter under the no-window condition. Thus, encoding efficiency (i.e., the rate of encoding information into memory in a unit of time) did not differ among the three conditions. An analysis of the scan trace of the scrolling and window movements in relation to the image revealed differences between the scrolling and moving-window conditions in terms of the scan's dynamic features. Moreover, a negative correlation was observed between the memory retention rate and image-scrolling speed. We conclude that perceiving images by scrolling on a small screen enables better memory retention than that obtained through whole-image viewing if the viewing time is not limited. We suggest that viewing through a small screen is not necessarily disadvantageous for memory encoding efficiency depending on the presentation mode, and the results show that participants who scrolled fast tended to have worse memory retention. These findings can impact school education and thus suggest that the use of mobile devices in learning has some merit from the viewpoint of cognitive psychology. [ABSTRACT FROM AUTHOR]

Copyright of Arcos: Design, Cultura e Visualidade is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Historically, artists and scientists predominantly created moving images of scientific phenomena using optical instrumentation such as cameras and light microscopes that enable direct observation of their subject. However, the perception and representation of nanoscale phenomena, which are too small to be detected by optical systems, rely upon complex technological mediation via layers of instrumentation, hardware and software. This mediation has profound implications for the perception of phenomena that exist outside the range of the human sensory system. This article describes the scientific representations of temporality in the work of Eadweard Muybridge and Étienne-Jules Marey and the complications of visualising the nanoscale. I analyse imperceptible phenomena in the contemporary moving image and draw upon my creative practice with the Atomic Force Microscope (AFM), using this instrument as a framework for discussing the temporal and sensorial challenges of working with nanoscale phenomena. This creative practice-based research resulted in the creation of several experimental moving image works collected under the title Wildly Oscillating Molecules. Through the adoption of scientific instrumentation and data for creative production, the collection of moving image practices discussed uncover temporal and sensorial assumptions and suggest alternative experiential encounters with scientific phenomena. [ABSTRACT FROM AUTHOR]

"Projecting the Colors of Vision" investigates the role of color in the depiction of changing visual dispositions across four screen texts and the technologies that create them. This article explores the role of color in the depiction of color blindness in the abstract cell animation, Ishihara, directed by Yoav Brill (2010). It examines the role of blue in Derek Jarman's experimental film Blue (1993), and it looks into the ways that both the feature film and the virtual reality version of Notes on Blindness (James Spinney and Peter Middleton, 2016) use color, rain, and sound to sculpt spaces. This article develops an intermedial comparison of each text, focusing on image and sound as dialectical forces that invite an embodied experience of distinct perspectives. [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.

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]

In her article, the author proposes to address the psychic 'work' of the moving image by aligning it with aspects of post-Bionian psychoanalytic theories that allude to virtual spaces as sites of reverie that, in enabling pre-linguistic 'feelings' to find expression, might produce shifts in thinking about disturbing or traumatic conditions and experiences. Her approach to psychoanalytic theory and the moving image is tested out in relation to one case study: Jeamin Cha's artists' film Sound Garden (2019), a film that refers to practices of counselling engaged in by four female protagonists who, on the soundtrack, reflect on their work and well-being in the context of neoliberalism in South Korean institutions. [ABSTRACT FROM AUTHOR]

Copyright of Ge-Conservación is the property of Instituto del Patrimonio Cultural and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This review of Mandelli’s book The Museum as a Cinematic Space: The Display of Moving Images in Exhibitions (2019) explains how, according to Mandelli, several viewing dispositifs, understood as a rather flexible assemblage of elements, are increasingly being used in museums to combine education with entertainment. Thus, museums are becoming “cinematic spaces” with an ideological perspective. Mandelli’s approach to the projection technologies of moving images in museological venues is not only chronological but also phenomenological. A three-way interest is recognizable in the alignment of chapters, encompassing the educational value of the dispositifs, their artistic nature, and the experiential factor. As the book provides an interesting overview of two fields that usually are not taken together and contains an assortment of case studies described in detail, it should make a good addition to the fields of Museum and Film

This study, written within the framework of a project The Audiovisual Work Outside the Context of Cinema: Documentation, Archiving, and Access, is focused on the collaboration of film documentarian Dobroslav Zborník with independent artists who engaged in performance art in Czechoslovakia in the 1970s and 1980s. He started this collaboration already during his studies at FAMU in Prague, where he graduated with the documentary movie named Antinomie (1973), in which he recorded the happenings of the Křižovnická škola čistého humoru bez vtipu [The Crusader School of Pure Humour Without Jokes]. In the second half of the 1970s and the early 1980s, he made cinematic documentations of art events for Milan Knížák (a member of the Fluxus movement), and Milan Grygar (whose worked is typified by experiments with connections between graphic art and sound). The purpose of this study is to review Zborník's role within Czech action art, as well as an attempt at a contextual analysis of the integration of the moving image by artistic disciplines as another expressive, not purely documentary, component. Part of the study is therefore monitoring the gradual acceptance of event documentation based on the local historical context. In 1970s Czechoslovakia, performances and happenings were first recorded onto celluloid because video technologies only made their way to the Eastern Bloc countries with a considerable delay. Zborník's cinematic documentations were later, under various conditions, and with the use of methods corresponding to the times, copied onto video cassettes, or digitised, which contributed to their accessibility, but also to the omission of their specifics. [ABSTRACT FROM AUTHOR]

This article situates a number of Philippe Parreno's moving image installations within the developments that led in the 1990s to the establishment of film as one of the pre-eminent forms of display in the museum of contemporary art. From here, a clear yet unexplored relation is established between cinema's relocation to the museum and artistic practices promoted under the conceptual label of relational aesthetics, with which Parreno was closely associated throughout the 1990s. Conceived as a part of the structural whole comprising an exhibition and embedded in a specific location, film installation was used by Parreno to raise questions concerning the visibility of the artwork and the duration of the viewing encounter. The fluid interactions between temporal and spatial categories in these installations invite a re-examination of the categories of museum and exhibition, as well as the material limits of the medium of the moving image. [ABSTRACT FROM AUTHOR]

This paper maps out several contemporary Chinese artists whose work of the moving image, be it installation, on mobile phones, on the app or website, is read as responding to the situation where various screens and their corresponding images or information are connected so deeply as to blur their previously established ontological and cultural boundaries. To this end, I expand Francesco Casetti's idea of 'hypertopia', a new spatial structure in which cinema is unhinged from its traditional place and relocated into other places and platforms, through Hito Steyerl's assertion on the migration of images and data, into, across, and off screens in the postinternet condition under which the world is perceived as the sum of the images and data themselves. If Casetti's hypertopia points to cinema's centrifugal relocation to other spaces than the movie theater, it can be argued that Steyerl's insight into the postinternet condition concerns the centripetal folding of images and screens, including the cinematic, into a screen, so that it is seen as accommodating them in its inside. Developing this theoretical speculation, I characterize as 'internal hypertopia' an aesthetic trope of moving image pieces by such artists as aaajiao (aka Xu Wenkai) and Miao Ying. [ABSTRACT FROM AUTHOR]

Copyright of Revista FAMECOS - Mídia, Cultura e Tecnologia is the property of EDIPUCRS - Editora Universitaria da PUCRS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The field of bioaesthetics seeks to understand how modern humans may have first developed art appreciation and is informed by considering a broad range of fields including painting, sculpture, music and the built environment. In recent times there has been a diverse range of art and communication media representing bees, and such work is often linked to growing concerns about potential bee declines due to a variety of factors including natural habitat fragmentation, climate change, and pesticide use in agriculture. We take a broad view of human art representations of bees to ask if the current interest in artistic representations of bees is evidenced throughout history, and in different regions of the world prior to globalisation. We observe from the earliest records of human representations in cave art over 8,000 years old through to ancient Egyptian carvings of bees and hieroglyphics, that humans have had a long-term relationship with bees especially due to the benefits of honey, wax, and crop pollination. The relationship between humans and bees frequently links to religious and spiritual representations in different parts of the world from Australia to Europe, South America and Asia. Art mediums have frequently included the visual and musical, thus showing evidence of being deeply rooted in how different people around the world perceive and relate to bees in nature through creative practice. In modern times, artistic representations extend to installation arts, mixed-media, and the moving image. Through the examination of the diverse inclusion of bees in human culture and art, we show that there are links between the functional benefits of associating with bees, including sourcing sweet-tasting nutritious food that could have acted, we suggest, to condition positive responses in the brain, leading to the development of an aesthetic appreciation of work representing bees. [ABSTRACT FROM AUTHOR]

This article examines site-specific moving images, particularly public artworks that engage windows and monuments as cinematic screens. Employing the concept of enchantment and Doreen Massey’s notion of a ‘global sense of place’, this article analyses how the physical experience of moving image media in public places can enrich and complicate our understanding of place. Artworks by Lynn Hershman Leeson, Ofri Cnaani, Krzysztof Wodiczko and Tony Oursler are explored, in addition to recent protest projections and critical and theoretical investigations of place and enchantment.

How to address and cope with the complexity of the ecological breakdown as a documentary moving image artist? This text contends that the causes and the consequences of the current ecological situation create some challenges for documentary-orientated artistic practices. These challenges are on the one hand related to the overwhelming complexity of the Anthropocene. On the other hand, as addressed in this text, these challenges are connected to dominant assumptions related to the label 'documentary'. By revisiting the roots of the documentary this article examines how the documentary mode can be productive for the planet's present and future challenges. This endeavour will be illustrated by the way Belgian artists Hannes Dereere and Silke Huysmans use and present documentary footage in their documentary-performance Pleasant Island. Their thoughtful use of today's most omnipresent device, the smartphone, problematizes the traditional responses of the documentary mode on climate emergency, whilst at the same time, their use of moving images and the instrument that produced these images insists to think today's emergencies together. [ABSTRACT FROM AUTHOR]

This article examines site-specific moving images, particularly public artworks that engage windows and monuments as cinematic screens. Employing the concept of enchantment and Doreen Massey’s notion of a ‘global sense of place’, this article analyses how the physical experience of moving image media in public places can enrich and complicate our understanding of place. Artworks by Lynn Hershman Leeson, Ofri Cnaani, Krzysztof Wodiczko and Tony Oursler are explored, in addition to recent protest projections and critical and theoretical investigations of place and enchantment. [ABSTRACT FROM AUTHOR]

This article analyses an audiovisual essay created around the exhibition Julião Sarmento. Film Works, that took place in Universidade Católica Portuguesa in Porto in 2019. This exhibition reunited 10 works in film and video produced by the Portuguese artist in different moments of his career. Following the audiovisual essay’s structure, I will approach three thematic obsessions transversal to Julião Sarmento’s work, as a reflexive proposal about a gaze phenomenology (or a vision’s perversity), regarding dispositives that involve the moving image. Particularly, in what concerns the problematic of desire. These are: (1) The constant work of language (the real, the symbolic and the imaginary); (2) The fragmented body (the conscience/disassembling of voyeurism); (3) The rhythm (exposing the matter of time in favor of a deceptive aesthetics).

Julião Sarmento’s body of work crosses artistic disciplines and fields. The artist resorts to film and video as a means to reach the artistic expression of an idea, open to an infinitude of interpretations. This audiovisual essay looks at the way Julião Sarmento works with moving images, focusing in three main perspectives: the word, the (feminine) body and rhythm. We conclude that each one of Sarmento’s works builds a system of codes, of communication, that opens new understandings of the human relation with the ‘real’.

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 co-curated 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. ‘How we die is how we live, only more so’ (Ashery, 2016)

If we trace an archaeological perspective on the history of moving image, we will invariably find innumerable visual devices that both belong to the field of science and that have become popular optical toys. Allowing therefore to put in discussion if the nature of cinematic experience is in fact rooted historically in cinema, since this is a diffuse experience, synthesized in devices that wanted to give back anima to what had previously been fixed in an image. It is for this precise reason that it is particularly pertinent to approach in this context the Werner Nekes' collection of optical devices, because it possesses unique qualities as an archive that condenses the history of visual media, cross-referencing it with visual culture in its popular expression, as well as with the universe of fine arts and contemporary art.

Mobile advertising has become the product of an influential actor in the creation of design ideas that attract the recipient, according to the needs of the society and the interactions of the technological technical age, what the technologies of the mock programs do and what corresponds to the expectations of the recipient, and what the design methods achieve of synchronization and sound in which all The research has found ways to address the most exciting and important snapshots and focus on diversity and diversity, formality, image and color, and what the optical degrees and chromatography achieve sought to attract attention, which contributes from the point of view of the researchers in the field of accuracy, clarity, attention and contrast, has reached Research on the importance of the moving image and its rhetorical and symbolic potential in the significance and absorption, attention and focus on the inclusion of the vocabulary of the animated image advertising within the training and educational programs in the relevant institutions

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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]

In the field of computer vision, the research of human motion analysis has a wide range of application prospects. Due to the complexity of human motion, the existing research methods have imposed many restrictions on the human body of the research object. A new method is proposed in this paper. The information of various types of human motion mainly discusses the reconstruction part of the human body’s three-dimensional motion skeleton. The basic idea is to establish the image of each image based on the camera calibration and the application of three-dimensional human body model knowledge and motion continuity. On the basis of obtaining the binarized motion image, automatic annotation of joint feature points is realized. Firstly, the Canny operator is used to extract the target contour, and the Douglas-Peucker vector compression algorithm is used to obtain a suitable human contour shape. According to the joint proportional structure, the position of each joint point is determined, and the joint feature points are automatically labeled. The three-dimensional human motion tracking technology is studied. The characteristic optical flow algorithm is used to track the marked joint points, and the Kalman filter is used to correct the joint points of the tracking error. The automatic labeling method of the mannequin joint points used reduces the manual intervention in the system to some extent. [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]

Today's students and practitioners of media have a growing and ever-changing number of options and technologies for applying design principles. From mobile devices to virtual reality, digital platforms and modes of production have changed the marketplace and continue to challenge both students and teachers alike to become adaptive learners and flexible thinkers. The ubiquity of digital screens and mediated space has, to some degree, rendered the formal elements of moving images less visible, if not invisible, and yet, designing to these underlying principles has driven the development of new technologies in cinema, virtual and augmented reality, social media, journalism, and games for centuries. Therefore, it may be useful to re-examine these underlying principles and formal elements of the moving image with students to gain a better understanding of the perceptual conditions whereby such experiences can be understood and crafted into new technologies and platforms. This article examines the formal elements of the moving image with an eye towards teaching practices and the development of future applications by tracing the experiments and discoveries of scientists, philosophers, artists, and thinkers throughout history who have endeavoured to discover and advance moving image technologies. By excavating early animation and cinematic devices such as the zoetrope and praxinoscope and examining their roots in physiology, medicine and mathematics as well as entertainment, students can develop a broader understanding of the current states of existing and emerging technologies, envision new applications for the movement-illusion, and re-establish an understanding of animation and the moving image as a fundamentally interdisciplinary endeavour. [ABSTRACT FROM AUTHOR]