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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]

The following introduction to the Special Issue addresses the problematic definition of the notion of precarity by highlighting its multifaceted value and possible interpretation in relation to the moving image. It also aims, at the same time, to show some directions in which, in accordance with the work of many scholars, it is possible to come with effective transversal modes of adopting and applying the concept. In this sense, the introduction also shows how the various papers of the Special Issue are capable to contribute to this understanding in unique and productive ways. [ABSTRACT FROM AUTHOR]