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The Swedish film Orca (2020) was both conceived and produced during COVID-19. As such, it is also about the pandemic and its own becoming. Making use of the proliferation of current screen cultures, including the split screen, writer and director Josephine Bornebusch invigorates old-fashioned ensemble acting while also putting current mediality on display.

Information literacy (IL) instruction is a key role of academic libraries, and split-screen tutorials are emerging teaching resources that are quite effective for delivering online IL training. Sid...

We consider some functions used in modern gadgets, in particular, the split screen, and the possibilities to employ gyroscope and accelerometer using an example of a customized gaming device, Wowcube. This device is a smart toy with tangible interface and is an analogue of a portable console with its potential going beyond launching applications only. The design of a firmware complex of a customized eight-processor gadget with a tangible interface is described. The structure of a data batch exchanged by the units of the complex to ensure synchronization is presented. The method of exchanging messages and the message lifetime are described. The commands used to exchange messages between the unit and the launched application are described. A list of the commands used by the platform and applications is determined. In order to determine the topology of the cube unit network, an example of operation of the message exchange system between the platform and an application, as well as between the units, is considered. An application for the customized computer complex has been developed using an SDK. The developed application takes into account the specific features and limitations of the device. The process of interaction of the device elements is described using this application as an example. Operation of the main menu of the device is presented. Means of the user’s interaction with the tangible interface are described.

The presence of ever more conflicting stances between Europhiles and Eurosceptics has revealed some audiovisual discourses unknown until now. The fragmentation of inconclusive narrative discourse and staged situations with a clear intent to clash all make it necessary to analyse in detail the role given by the audiovisual media to the European process of democratisation. This study addresses the audiovisual discourse in Spanish public television (TVE) with the intention of discovering how the different topics addressed in debates are dealt with in audiovisual production, and whether those topics have benefited from certain decisions by the production team that are subjective a priori. Using external codifiers, the intensity of each question has been checked and the result has been correlated with the dependent variables “[camera] shot with question while listening” and “shot with question with split screen”. The variables have been subjected to descriptive analyses, correlation with hypotheses, and bivariate analyses using Pearson’s correlation (Rx-y). The results indicate a clear difference in the modes of television representation between national Spanish and European debates. It is discussed whether this audiovisual differentiation may condition the perception that the audience may have of European politics.

İlkokulların ilk dört yılında öğretmenlik hizmetlerini yürütmekte olan sınıf öğretmenleri eğitim fakültelerinde eğitim alarak mezun olmakta ve KPSS sınav sonuçlarına göre atanabilmektedirler. Onların hizmet öncesi eğitimleri boyunca aldıkları çeşitli dersler arasında Genel Kültür Seçmeli Dersleri ve Meslek Bilgisi Seçmeli Dersleri yer almaktadır. Yeni Sınıf Öğretmenliği Lisans programları uygulanmaya başlamadan önce Drama dersleri zorunlu derslerden biri olup 3. Sınıflarda haftada 4 saat olarak okutulmaktaydı. Ayrıca farklı üniversitelerde Seçmeli dersler kapsamında açılmış olan “Fen bilgisinde drama, Sosyal bilgilerde drama, Yaratıcı drama, Eğitimde drama” tanımlamalarıyla farklı dersler de bulunmaktadır. Buca Eğitim Fakültesi’nde de 4. Sınıfta seçmeli olarak “Eğitimde Drama uygulamaları” dersi yer almaktadır. Bir Durum Çalışması olarak yürütülen bu araştırmada Sınıf Öğretmeni adaylarının ilkokullarda drama uygularken en çok hangi tekniklerden ve ısınma oyunlarından yararlanmayı düşündükleri incelenmiştir. Araştırma Dokuz Eylül Üniversitesi Buca Eğitim Fakültesi, Temel Eğitim Bölümü, Sınıf Eğitimi Anabilim dalında, 2018–2019 öğretim yılı bahar döneminde Seçmeli Drama dersini alan bir şubedeki gönüllü öğrencilerle yürütülmüştür (N=23). Nisan ayında öğrencilere açık uçlu bir soru yöneltilerek onlardan kompozisyon olarak cevaplamaları talep edilmiştir. Öğretmen adaylarına atandıklarında bir öğretmen olarak ilkokullarda “Isınma oyunları ve drama tekniklerinden hangilerini tercih etmeyi düşündükleri” sorulmuştur. Beş tercih yapmaları istenmiştir. Verilen bu yanıtlar içerik analizine tabi tutularak tablolar yapılmıştır. Elde edilen bulgulara göre öğretmen adayları drama tekniklerinden en fazla Bilinç koridoru (N= 17), Bölünmüş ekran (N=12), Telefon görüşmeleri (N=9) ve Dedikodu halkası (N=9) kullanmayı düşündüklerini belirtmişlerdir. Diğer bulgulara ve önerilere çalışmada ayrıntılı olarak yer verilmiştir., Primary school teachers, who carry out teaching services in the first four years of primary schools, graduate by receiving education in the Faculties of Education and can be appointed according to the KPSS exam results. Among the various courses they take during their in-service training are General culture courses and Professional knowledge courses. Before the implementation of the new Primary Teaching Undergraduate programs, Drama courses were one of the compulsory courses and were taught in the third grades 4 hours a week. In addition, there are different courses with the definitions of Drama in science education, Drama in Social studies, Creative drama, Educational drama, which have been opened within the scope of elective courses at different Universities. In Buca Education Faculty, there is an elective “Drama practices in education” course in 4th grade. In this study, which was carried out as a case study, it was examined which techniques and warm-up games the primary school teacher candidates thought to use the most while applying drama in primary schools. The research was carried out with volunteer students in one class in Dokuz Eylül University Buca Faculty of Education, Department of Basic Education, Primary Teacher Education Department, where the researcher studied elective drama courses in the spring semester of 2018-2019 academic year (N = 23). In April, students were asked to answer an open-ended question as a composition. When they were appointed to primary schools as a teacher, “Which warm-up games and drama techniques do they consider to prefer?" were asked. They were asked to make five choices. These responses were tabulated by subjecting them to content analysis. According to the findings obtained, pre-service teachers stated that they thought of using the Consciousness corridor (N = 17), Split screen (N = 12), Telephone calls (N = 9) and Gossip ring (N = 9) the most. Other findings and suggestions were included in the study.

With the tremendous growth of video contents and mobility demands, there is a need to develop more personalized video services. Split-screen services, such as picture in picture become more and more popular. Furthermore, the user’s viewing environment affects the user’s quality of experience (QoE). Therefore, video transmission of split-screen services face several major challenges, such as to quantify the impact of environmental factors on user’s QoE; how to assess the user’s QoE of the split-screen services; how to choose the bit-rate of each video stream to maximize user’s QoE of the split-screen services. To address these challenges, in the paper, an environment-aware adaptive transmission (EAAT) scheme for split-screen video streaming is first presented. Then, we introduce a mathematical model for characterizing user’s QoE to be affected by environmental factors in the proposed EAAT. In the model, the QoE of user’s relationship with the viewing environment is proposed. Based on the model, a problem of maximizing user’s QoE is formulated, and we develop a heuristic algorithm to solve the optimization problem. In addition, we conduct various trace-bandwidth experiments to rigorously evaluate the proposed EAAT scheme in different network environments, and show that EAAT can enrich the video quality while saving network resources.

Background: We developed an app (UfaceME) which simultaneously allows patient and clinician to be viewed on a split screen, then replayed and rated on a series of semantic differential scales and the ratings of the clinician of their own response to the interview, and the patient's response, displayed on a graph. Method: We evaluated the app with trials with 14 medical student volunteers who alternated the roles of patient and clinician, using 2 randomly allocated sexual case histories. Semantic differentials for 10 adjectives were examined pre- and post-exercise. There were significant differences in 8 of the 10 adjectives. A focus group with the 14 subjects was also carried out and transcribed. The exercise was repeated with all 175 first-year medical students taking a sexual history. Results: Qualitative data indicated themes of being surprised and educated by non-verbal and verbal responses; seeing how the patient rated their responses; rating and watching discomfort; differences in clinician/patient perceptions and response; and the advantage of feedback. Quantitative data comparing self vs "patient" showed low correlations between perceptions of being "at ease", moderate for appearing "distracted", and high for appearing "engaged". Conclusion: UfaceME was easily understood and used, and the opportunity to replay and rate performance on key semantic scales, and watch and assess verbal and non-verbal performance, including patient rating, provided valuable insight.

During the final climactic moments of Stranger Things 3, fan favourite Dustin Henderson (Gaten Matarazzo) connected with his new girlfriend, Suzie (Gabriella Pizzolo), singing a duet of the title track from the 1985 cult fantasy movie The NeverEnding Story (‘Chapter Eight: The Battle of Starcourt’). The sequence blurs generic boundaries between the predominantly sci-fi narrative and the musical genre by using split screen and melodramatic close-ups of the couple while they perform.

The paper concerned to the basic photogrammetric concepts and will also deal with the concept of stereophotogrammetry and it would give a brief review of the stereophotogrammetric concepts such as parallax, depth perception, stereovision, the different methods of viewing the stereo images in analogue and digital environment. This paper also explains the different digital and analogue viewing techniques such as split screen view, anaglyph view, separation by polarization, alternating images. The conditions such as collinearity and coplanarity conditions are explained. Lastly focused the orientations such as interior relative absolute orientation model and the GCP model. There are various applications of stereo imaging in medical science but we focus in this paper mostly on the geo imaging.

In this chapter the author discusses his new musical score for Walter Ruttmann’s short, abstract film Lichtspiel Opus 3 (1924), composed in 2014. To begin with, the film is contextualised and its spatio-temporal characteristics are closely scrutinised. Overall, Ruttmann avoids montage in favour of a more evolutionary, evenly proportioned time character; meanwhile, the choreographic elements, varied repetitions, strong formal contrasts and fluid rhythmic patterns all appear to spring from the same structural impulse as music. The author’s ‘analytical’ compositional approach was influenced by the multimedia theories of Nicholas Cook and the music of Conlon Nancarrow, in which contrasting layers of rhythmic activity are clearly discernible, like a musical ‘split screen’ effect. A research method was developed for musically interrogating Ruttmann’s abstract film text which involved reading it as a set of musical instructions, or ‘score’. This then became the starting point for a multi-faceted, polyphonic musical response, which illuminates formal detail and structure while simultaneously contributing additional layers of movement and meaning. In the finished piece, the music and picture are not completely independent of one another; rather, they represent different versions of one another, played simultaneously. Therefore, ‘audiovisual heterophony’ most accurately describes the multimedia texture captured in this work.

INTRODUCTION UK surgical training currently faces the challenge of expanding surgical skills in a context of reduced training opportunities. Video-review in theatre offers the potential to gain more from each learning opportunity and to enhance feedback. AIM This was a designed-based study to test the feasibility of using synchronized video-review as a reflective tool to enhance surgical training and to gain a deeper understanding of intraoperative feedback. METHOD Ten supervised laparoscopic cholecystectomy operations were video-recorded using a synchronized split screen, to show trainees’ actions, instrument manipulation, and interactions with other theatre staff. This was followed up by joint review of the operation-recording by both the trainee and supervisor. Video-review sessions were audio-recorded along with the consultant and Specialist Registrar interviews after the review session. Audio recordings were thematically analyzed. Supervisors completed the Procedure-Based Assessment forms, twice: post operation and post video-review to check potential trainers’ enhanced insight. Forms were analyzed to note any changes and to triangulate the findings. RESULTS Overall trainee and supervisor feedback was positive. Trainees and supervisors reported the video-review added value in terms of reflection-on-action. It removed the stress of conducting/supervising the operation in real time and focused the attention on feedback. Satisfaction was reported across trainee levels with both scrubbed and unscrubbed supervisors. Audio-visual review allowed trainees to understand the feedback better and to identify new targets beyond those gained from the verbal feedback during the procedure. It also facilitated appraisal of the trainer's teaching. DISCUSSION This study established the feasibility of using synchronized video-review as a reflection-on-action tool to potentially enhance surgical training by improving feedback. It identified trainees’ difficulty in processing intraoperative feedback due to mental overload from the operation. It showed the limitations of current verbal feedback practice, using Procedure-Based Assessment forms, with regard to enhancing technical and nontechnical skills due to denial and memory fading.

Split-screen tutorials are an appealing and effective way for libraries to create online learning objects where learners interact with real-time Web content. Many libraries are using the University of Arizona's award-winning, open source platform, Guide on the Side. In 2016, Springshare released a proprietary alternative, LibWizard Tutorials. This article reviews the advantages and limitations of this kind of tutorial. It also examines the differences between each platform's distinctive characteristics. These platforms create similar split-screen tutorials, but have differences that affect diverse aspects of installation, administration, authoring and editing, student learning, data management, and accessibility. Libraries now have the opportunity to consider and compare alternative platforms, and decide which one is best suited to their needs, priorities, and resources.