Search

Heilipus lauri is a specialist avocado seed feeding weevil native to parts of México and is an invasive pest in Colombia. This weevil is considered an incursion risk because possible unintended introductions into areas outside of its native range can result in establishment, which threatens avocado production in invaded regions. Despite being a well-recognized pest of avocados, relatively little is known about oviposition biology, behavior, and cultivar preferences of this weevil. Field studies in commercial Hass avocado orchards in México and laboratory studies in a quarantine facility in California (USA) indicated that H. lauri prefers to oviposit into middle and bottom thirds of fruit. In the laboratory, an average of 1.7 eggs (range 1-6 eggs) are laid over a 24-h period in oviposition chambers by individual females. Conspecifics add eggs to these clutches, with up to 17 eggs being recorded in 1 oviposition chamber. This finding suggests that H. lauri does not use an oviposition deterring pheromone. Female weevils readily oviposit in artificial holes representing mechanical wounds on fruit. In comparison to the commercially dominant Hass variety, fruit from Lamb Hass and G22, a native Guatemalan variety, and to a lesser extent Gem, may be less preferred for oviposition when females have a choice of fruit in which to oviposit. Videography studies indicated that H. lauri exhibits predominantly diurnal activity with respect to oviposition behaviors, feeding, and walking.

Despite the success of videographic methods, they have not been used to expand the range of contexts where institutional complexity informs marketing theory. In applying participant videography to such a study, however, we can also better understand how both methods and researchers themselves are variously embedded in the institutional complexity being studied. We explore this through the idea of hyphen-spaces amongst researchers, between researcher and participants, and involving the technologies used in research. We show how video helps researchers to understand institutional complexity in contexts where consumption practices may be difficult for participants to reflect on and articulate. We then further explain how interpreting video data opens up hyphen-spaces in which the research team can reflect on their own institutional embeddedness and implicit political aims. [ABSTRACT FROM AUTHOR]

Copyright of Sanat ve Tasarim Dergisi is the property of Ankara Haci Bayram Veli University 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.)

ABSTRACT In stream ecosystems, invertebrates are a principal source of prey for many fishes, but their abundance as a food source depends on the predator's ability to exploit them in time and space. Although salmonid fishes are commonly thought of as daytime drift‐feeding predators of invertebrates in streams, they exhibit great flexibility in foraging behaviour and may also consume prey from the benthos and at night. Char species, (Salvelinus sp.), in particular, may be better adapted to forage under low light conditions due to greater scotopic sensitivity than other salmonids. In this study, we used in situ or in place videography to quantify the foraging behaviour of bull trout (Salvelinus confluentus) and determine when and where they capture prey. We found that bull trout were primarily daytime predators of invertebrates drifting in the water column, and that they rarely captured prey from the benthos or foraged at night. We did observe size‐related differences and seasonal declines in foraging rate from summer to fall months. A modelled estimate of energy intake indicates that daytime drift‐feeding by small size classes of bull trout was above that needed for a maximum daily ration under a range of assumptions about prey size and prey retention rates. Energy intake rates for larger fish were more dependent on assumptions of preferred prey size and prey retention rates. Our data indicate that daytime measures of invertebrate drift abundance and size are the most inclusive measure of food abundance for stream‐dwelling bull trout. [ABSTRACT FROM AUTHOR]

Copyright of Zeitschrift für Sozialpädagogik is the property of Julius Beltz GmbH & Co. KG Beltz Juventa 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.)

Objective: For foraging animals, energy acquisition is often influenced by an interaction of prey abundance and the amount of space needed to capture sufficient food. Suitable habitat includes those locations where prey capture rates are sufficient to meet energetic requirements for growth and reproduction. Hence, quantifying how space use changes with energy requirements and how prey densities affect prey capture rates in foraging animals provides insight into the mechanisms that create suitable habitat. Here, we were interested in assessing how body size influences foraging site selection, space use, and energy intake by Yellowstone Cutthroat Trout Oncorhynchus virginalis bouvieri. Furthermore, we sought to quantify how foraging rates changed with increasing levels of food. Methods: We recorded Yellowstone Cutthroat Trout foraging behavior in natural streams and measured space use and foraging rates using three‐dimensional videography. Result: We found that physical habitat features, such as current velocity, water depth, and foraging distance, were positively correlated with fish body size, but when foraging area was compared to a model of space use, we found that Yellowstone Cutthroat Trout used less space to capture prey than the model predicted. Fish foraging rates and estimated energy intake also increased with increasing prey availability; however, trout captured prey according to a type II functional response, indicating an upper limit to prey capture from handling time constraints. Conclusion: These data demonstrate that Yellowstone Cutthroat Trout display allometric changes in foraging habitat use: larger fish can occupy deeper and faster areas that increase prey encounter rates, but as prey encounter rates increase, the foraging rates become limited by an individual's ability to identify, pursue, and handle prey items. Impact statementThe availability of food and space exerts a primary limit on the productivity of stream salmonids. Our study demonstrates that Yellowstone Cutthroat Trout primarily forage on drifting prey, use more space, and occupy locations that provide higher prey encounter rates as they grow, but energy intake may be limited by handling time constraints when foraging in streams. [ABSTRACT FROM AUTHOR]

Supplemental Digital Content is Available in the Text. High-speed videography of hind paw withdrawal produced variable results across experimenters, did not consistently reflect intensity-dependent pain scores, and did not differentiate inflamed and naive animals. Few analgesics identified using preclinical models have successfully translated to clinical use. These translational limitations may be due to the unidimensional nature of behavioral response measures used to assess rodent nociception. Advances in high-speed videography for pain behavior allow for objective quantification of nuanced aspects of evoked paw withdrawal responses. However, whether videography-based assessments of mechanical hypersensitivity outperform traditional measurement reproducibility is unknown. First, we determined whether high-speed videography of paw withdrawal was reproducible across experimenters. Second, we examined whether this method distinguishes behavioral responses exhibited by naive mice and mice with complete Freund's adjuvant (CFA)-induced inflammation. Twelve experimenters stimulated naive C57BL/6 mice with varying mechanical stimuli. Paw withdrawal responses were recorded with high-speed videography and scored offline by one individual. Our group was unable to replicate the original findings produced by high-speed videography analysis. Surprisingly, ∼80% of variation was not accounted for by variables previously reported to distinguish between responses to innocuous and noxious stimuli (paw height, paw velocity, and pain score), or by additional variables (experimenter, time-of-day, and animal), but rather by unidentified factors. Similar high-speed videography assessments were performed in CFA- and vehicle-treated animals, and the cumulative data failed to reveal an effect of CFA injection on withdrawal as measured by high-speed videography. This study does not support using paw height, velocity, or pain score measurements from high-speed recordings to delineate behavioral responses to innocuous and noxious stimuli. Our group encourages the continued use of traditional mechanical withdrawal assessments until additional high-speed withdrawal measures are validated in established pain models. [ABSTRACT FROM AUTHOR]

Studying the detailed biomechanics of flying animals requires accurate three‐dimensional coordinates for key anatomical landmarks. Traditionally, this relies on manually digitizing animal videos, a labor‐intensive task that scales poorly with increasing framerates and numbers of cameras. Here, we present a workflow that combines deep learning–powered automatic digitization with filtering and correction of mislabeled points using quality metrics from deep learning and 3D reconstruction. We tested our workflow using a particularly challenging scenario: bat flight. First, we documented four bats flying steadily in a 2 m3 wind tunnel test section. Wing kinematic parameters resulting from manually digitizing bats with markers applied to anatomical landmarks were not significantly different from those resulting from applying our workflow to the same bats without markers for five out of six parameters. Second, we compared coordinates from manual digitization against those yielded via our workflow for bats flying freely in a 344 m3 enclosure. Average distance between coordinates from our workflow and those from manual digitization was less than a millimeter larger than the average human‐to‐human coordinate distance. The improved efficiency of our workflow has the potential to increase the scalability of studies on animal flight biomechanics. [ABSTRACT FROM AUTHOR]

The industry of library music (pre-existing pieces that can be licensed for use in media) has grown considerably in the past two decades with its transition to a digital medium. A rising number of composers rely on this music as a source of income, along with audiovisual creators who increasingly use it in their productions. This expansion has accentuated a fundamental aspect of library music: the creation of large quantities of tracks at breakneck speed. Parallel to this, the video editors and videographers who form library music's main client base experience tight production deadlines where the choice of music is often left as an afterthought. This article explores the implications of the sped-up creation and use of library music in the current online media landscape. Although the interactions of composers and videographers with this music are often fraught with concerns of limited time, their attitudes towards this acceleration vary considerably: for instance, composers describe their fast-paced work in widely different ways, viewing it as a constraint, or, on the contrary, as a positive and freeing aspect. That being said, the sense of urgency shared by these agents has wide-ranging impacts on every step of the 'life' of a library track, from its composition and presentation to its selection and synchronisation with images. As composers attempt to appeal to hurried videographers browsing libraries, these, in turn, resort to this music as an invaluable strategy to retain their audience's attention. Furthermore, sonic stereotypes that are prevalent in library music are valued as communication shortcuts in audiovisuals where messages must be conveyed through instantly recognisable musical formulas. In addition to broader impacts on the workings of library music, this widespread perception of 'lacking time' is also a vital factor that shapes its sonic characteristics themselves, making library music truly a matter of time. [ABSTRACT FROM AUTHOR]

Purpose: The physical filmmaking landscape has been transformed by the emergence of digital platforms that foster interaction and dialogue. The accessibility and affordability of mobile production tools have empowered anyone with a mobile phone to become a media content creator. Accordingly, this paper aims to present a multi-method approach for creating phygital projects that involve people as active participants rather than mere subjects who collaborate with the researchers to tell their stories. Design/methodology/approach: Research participants can embrace diverse roles, serving as co-researchers, content creators, curators and collaborators. The authors use various engagement strategies with the research participants, who are often marginalized or underrepresented, to encourage their participation and give them agency and creative control. Thus, we also use a participatory action research approach to help advocate for the participants' facial equality concerns. Findings: Collaborative videography embraces the mosaic of voices expressing intricate social issues. In this project, research participants with "facial differences" explain their experiences in facing society. Originality/value: By experimenting with participatory frameworks and combining physical interactions (such as in-person meetings) with digital platforms like Zoom and social media, the authors suggest a multi-method approach that honors the authentic stories of the research participants, effectively engages the audience and explains how phygital research methodologies can be used in interpretive consumer research, particularly in co-creating films that capture strong visuals. [ABSTRACT FROM AUTHOR]

This study aims to contribute to scholarship on online video activism by looking at mobilization videos created by the Support Art Workers (SAW) movement which emerged during the COVID-19 crisis in Greece. Our main observation is that several SAW videos consist of an assemblage of performance art elements and protest visuals which together with expressive uses of video production exemplify a "videography as performance" approach. We examine three SAW mobilization videos as a type of "activist video as performance," which, aside from their function as invitations to protest-events, also form an innovative means of encouraging active civic engagement. Furthermore, we argue that aspects of the performance art elements and protest imagery included in the videos speak back to previous protest trajectories in Greece. Our overall objective is to show how SAW's communication tactics have shaped new ways of visualizing protest goals that expand existing paradigms of online activist video. [ABSTRACT FROM AUTHOR]

In today's world of growing user-generated content on social media, this study addresses the challenge of producing high-quality content, be it for social engagement or educational purposes. Conventionally, using a cameraman has been an effective yet expensive way to enhance video quality. In this context, our research introduces an innovative AI-driven camera robot that autonomously tracks the content creator, thereby improving video production quality. The robot uses an object detection model composed of YOLOv3 and Kalman filter algorithms to identify the content creators and create a bounding box around them within the frame. Using motion detection control, the robot adjusts its position to keep the bounding box centered in the frame, ensuring a continuous focus on the content creator. As a result, the system consistently captures excellent images through precise pan-tilt movements, promising improved visual storytelling. The initial results confirm the system's effectiveness in content detection, camera control, and content tracking. This advancement has the potential to impact user-generated content across various domains, providing an accessible way to enhance content quality without the high costs associated with traditional cameraman services. [ABSTRACT FROM AUTHOR]

Diffractive methodology is a recently established alternative to the interpretivist approach commonly used in educational research. Unlike epistemological practices grounded in representation, it recognises knowledge making as performative and emergent from difference. This paper offers new insights into diffractive readings in early childhood science education through experimentation with entangled empirical video data, theoretical perspectives and transdisciplinary space. A methodological contribution is made by showing how critical points of difference are created when video footage of shared understandings held by early childhood practitioners encounters existing research on early childhood science education diffractively. These points of difference are made to matter and illuminated as affecting emergent new connections which can reconfigure dominant ways of understanding creativity in early childhood science education. In doing so, children’s creative knowledge making practices in science enquiry are (re)presented as expansive, material knowing which is enacted at once through talk and materials.

The aim of this study was to examine spatiotemporal and joint kinematic differences between footstrike patterns in 10,000 m running. Seventy-two men’s and 42 women’s footstrike patterns were analysed during laps 5, 10, 15, 20 and 25 (of 25) using 2D video recordings. Approximately 47% of men were FFS throughout the race, 30% were MFS and 24% RFS; the respective frequencies in women were approximately 30%, 38% and 32%. Overall, 83% of men and 88% of women retained their footstrike pattern throughout the race. Amongst the 53 men and 33 women with symmetrical footstrike patterns, there were no differences in speed, step length or cadence between footstrike groups in either sex. Most lower limb joint angles did not change in these athletes during the event, with few differences between footstrike patterns apart from ankle and foot angles. A greater hip-ankle distance was found in RFS than in FFS (both sexes) and in RFS than in MFS (men only), although these differences were never more than 0.03 m. Coaches should note that habitual footstrike patterns were maintained during this long-distance track race despite changes in running speed and possible fatigue, and there were few performance differences between footstrike patterns. [ABSTRACT FROM AUTHOR]

There is a consensus in educational, media and cultural studies research that digital media influence school and classroom cultures. However, it is often unclear how this can be empirically established. This article addresses the question of how digital artefacts function as ‚players‘ in the classroom. An ethnographic research project reconstructs teachers‘ media practices. The analyses reveal digital artefacts as persistent and resistant actors. This resistance becomes empirically visible less in the socio-medial or material practice of public teaching, but rather upstream in practices of lesson preparation. From this perspective, the agency of digital media in school practices is reflected upon. [ABSTRACT FROM AUTHOR]

Among various environmental factors, temperature has been considered a main determinant of outcomes of predator–prey interactions involving ectotherms. Although numerous studies have aimed to examine temperature effects on those interactions, few studies have been conducted under fully natural conditions. In this study, we examined the degree to which temperature affects the outcomes of encounters between a Japanese pit viper (Mamushi, Gloydius blomhoffii) and its prey under natural conditions. We continuously recorded ambushing behaviors and body temperatures of these snakes in the field using videography. We found that, over the range of temperatures at which Mamushi hunted, (1) temperature has only limited effects on whether Mamushis initiate a strike at prey and whether strikes successfully hit the prey; (2) prey reactions to strikes, such as whether they dodge the strike or the latency from strike initiation to dodge, are not affected by temperature; and (3) factors such as distance to prey and prey dodging movements are greater determinants than temperature on the outcomes of encounters between free‐ranging Mamushi and their prey. Our results suggest that temperature effects on the outcomes of free‐ranging snake–prey interactions may be smaller than hitherto considered. [ABSTRACT FROM AUTHOR]

Purpose : This study aimed to determine the feasibility and acceptability of using videography to alleviate the stress of anticipatory mourning in pediatric palliative care patients. A secondary aim was to expand palliative/end of life care research by performing a more comprehensive examination of children's experiences with life-shortening illness. Methods : Eligible patients ages eight and older made a legacy video with the assistance of investigative staff and completed a questionnaire to evaluate their emotional states before and after making the video. Bereaved parents also received a questionnaire to assess the impact of the legacy. Results : Nine patients enrolled and eight completed the study through the therapeutic exit interview. Most reported decreased anxiety and a positive experience. Conclusion : Therapeutic videography is feasible and acceptable to accomplish and can improve the emotional state of participants. Conducting research requiring active participation of patients very near the end of life proved to be challenging. [ABSTRACT FROM AUTHOR]

Studies previously conducted on high jump have yielded important information regarding successful performance. However, analyses in competitive scenarios have often disregarded athletes’ unsuccessful attempts. This study aimed to investigate the biomechanical differences between successful and unsuccessful jumps during competition. High-speed video footage (200 Hz) was obtained from 11 athletes during the 2018 Men's World Athletics Indoor Championship Final. From each athlete, one successful (SU) and one unsuccessful (UN) jump at the same bar height were included in the analysis, leaving seven athletes in total. Following whole-body 3D manual digitization, several temporal and kinematic variables were calculated for the run-up, take-off, and flight phases of each jump. During SU jumps, athletes raised the center of mass to a greater extent (p

The Black Hip Hop tradition, specifically rap, has appropriated and rechanneled music technologies and inscribed new meanings for cultural, economic, social, and political gains, videography included. Through an ethnographic study of Hip Hop in rural northeast North Carolina, USA, this project incorporates the voices of local Hip Hop videographers and rap artists to suggest that Hip Hop videography is a form of performative Blackness that exemplifies how the visual is a site of vernacular possibility. It shows how Black artists in rural northeast North Carolina work within the specific structure of the trap subgenre, which originated in urban centres, only to rupture it with visuals of rural Blackness. By demanding audiences to 'listen' to images, Hip Hop artists in the area known as 'the 252' use local history and the visual subjectivity of the surrounding region to alter the sonic experience of songs to set forth a local identity. This research positions Hip Hop videography as a relational space where identities are inhabited, imagined, and transformed. [ABSTRACT FROM AUTHOR]

In this article, we offer some observations on the international standing of communicative constructivism (CoCo), as discussed in scholarship published largely in German over the past decade (e.g., KELLER, KNOBLAUCH & REICHERTZ, 2013; KNOBLAUCH, 2019a [2016]; REICHERTZ, 2009). We seek to explain why, in our view, CoCo has not thus far had a noticeable influence on academic discourse in international, particularly Anglo-American, sociology. Amongst others, we highlight issues regarding the name that was picked for the perspective and regarding the literal translation of German CoCo terminology into the English language. We also point to some theoretical and methodological choices that have made it difficult to link CoCo to interactionist sociology in general, and to ethnomethodology and ethnography in particular, i.e., perspectives that we are closely aligned with. We conclude with a summary of our observations and a few suggested steps communicative constructivists might consider taking to broaden and diversify the appeal of their program beyond German speaking sociology. [ABSTRACT FROM AUTHOR]

This contribution builds on an existing methodology of image clustering analysis, conceived for modelling the wave overtopping at dikes from video records of laboratory experiments. It presents new procedures and algorithms developed to extend this methodology to the representation of the wave runup at crown walls on top of smooth berms. The upgraded methodology overcomes the perspective distortion of the native images and deals with the unsteady, turbulent and bi-phase flow dynamics characterizing the wave impacts at the walls. It accurately reconstructs the free surface along the whole structure profile and allows for a statistical analysis of the wave runup in the time and spatial domain. The effects of different structural configurations are investigated to provide key information for the design of coastal defences. In particular, the effects of increased sea levels in climate change scenarios are analysed. Innovative results, such as profiling of the envelopes of the runup along the wall cross and front sections, and the evidencing of 3D effects on the runup are presented. The extreme runup is estimated for the definition of the design conditions, while the envelopes of the average and minimum runup heights are calculated to assess the normal exercise conditions of existing structures. [ABSTRACT FROM AUTHOR]

Teaching in primary schools means taking the heterogeneity of students’ backgrounds, skills, and capacities into account and offering them a commensurately wide variety of learning opportunities. This is particularly the case when it comes to digital-based instruction, which often entails individualized learning and greater responsibility of learners for their own learning processes. To enable participation and reduce risks of exclusion – for students with disabilities and in the context of the digital divide – teachers’ learning support is of great importance. Despite the potential of teacher support for learning with digital media, few studies have investigated this topic. This paper introduces a research study using videography to analyze the learning support given by preservice teachers during active media work. The findings indicate that teachers tend to provide mainly direct instruction, and significantly less diagnostic support aimed at fostering the learning process. The results do not confirm the idea that digital teaching formats provide technical rather than content support. Furthermore, they show that digital learning formats enable participation by all the students in the class. These results are discussed with a view to risks of exclusion and implications for teacher professionalization.

Introduction: The dairy industry, with its long chain of values and numerous links, is an effective and efficient industry in the Iranian economy. As the competition in the dairy market increases, the chances of survival in this field decrease, regardless of the customer, marketing and sales strategies. Therefore, the customer's journey is important from the moment of getting to know the company to the purchase, which is an experience that plays a role in the customer's mind. Shopping trips have a significant role in people's lives and are one of the basic needs of human life. The importance of the customer journey increases with the complexity of service delivery. It is also important to understand what the person is thinking and feeling, given that what the person is saying is not always in line with what they are doing. Therefore, today, it seems necessary to use a customer empathy map during a trip.Targeting and optimizing the message is very important in the busy days of the third millennium and is a requirement of every brand. The digital revolution has helped to better understand the final audience. Based on this knowledge, the message that has the most impact should be selected and the audience should be exposed to it. In this respect, innovation in advertising means creating valuable memories for the target audience. Virtual reality-based advertising can help companies create such memories. Virtual reality (virtual reality) is created as a computer simulation that involves a user, and that user perceives it through one or more senses (mostly through vision, hearing and touch). So, the interaction with it would be as if it were real.Methodology: In the present study, Ramak local cheese was advertised through virtual reality in Mahestan shopping center in the city of Karaj, where different ethnicities live. The aim was to create a customer empathy map using a virtual reality camera and a wooden cottage. The present study is a developmental perspective in which the survey method was used to collect the data and video hermeneutics method served to analyze the data. There were 74 participants in the study, and the data of 23 participants were analyzed. In fact, the selection of samples continued until the data saturation; the researcher realized that the subsequent samples will not provide him with distinctive information.For the effectiveness of the customer empathy map, what the customer says, does, thinks and feels were videotaped and finally analyzed during the virtual reality advertising process. The people in the mall were asked to watch a two-minute 3D movie through virtual reality glasses. They sat on a chair to watch the film. The film took the participants to a lush farm where many cows were grazing. To make the advertisement more effective when the participants were watching the film, several wooden walls were connected, and the participants were placed in a cottage with a traditional atmosphere. It was a place with a table in the hut lined with local Ramak cheese, cucumbers and tomatoes, and traditional music with pleasant spring sounds was played. At the end of the video, the participants were asked to try the local cheese and express their opinion about the product. The recorded videos of the participants in virtual reality advertising were analyzed by video hermeneutics.Results and Discussion: With the increasing competition among companies and the great change and diversity in the demands and needs of customers, managers must always think of innovative ways to attract and retain their customers. Therefore, we see many changes in companies' advertisements to attract customers. Managers must be able to accompany the customer on the shopping trip. This trip is the process by which a customer interacts with a company to achieve a goal. Also, managers need to read the customer's mind to better interact with him. In fact, they must design an empathetic map to communicate with the customer. An empathy map can provide new insights into the customer’s desire and how it affects product decisions, marketing messages, and corporate business strategies. Videos provids researchers with unique analytic methods.Companies increasingly incorporate virtual reality into their operations to ensure that sales conversions occur based on a sense of presence, which results from an effective virtual experience. Virtual reality helps to bridge the gap in consumer expectations and ultimately leads to higher purchasing goals. In the present study, the researchers designed and implemented a customer empathy map with the aim of creating a sense of presence and meeting customer expectations. To this end, a film and a traditional cottage were used based on virtual reality. The results showed that the sense of nostalgia, peace and joy was completely transferred to the participants and the company was able to interact properly with them.Conclusion: After carrying out this plan, Ramak Company has witnessed an 8% growth in sales of the desired product. Therefore, the use of virtual reality maintains the relationship with consumers. Indeed, virtual reality is a suitable tool at the end of the shopping trip, it has to do with the customer loyalty and advocacy, and companies can use ads to be more effective and create an empathetic relationship with customers.

Indonesia's capital, Jakarta, has serious problems with the increasing volume of waste in garbage collection sites The use of videos in an educational campaign in the Waste Bank program has become one of the means for the community to participate in the fight against waste, especially in Jakarta. This study aimed to determine the role of videography in educating audiences, especially millennials, about the Waste Bank on social media. This study used a qualitative descriptive research method. The result of the research was to create a video of the Waste Bank with persuasive and effective messages to be shared on social networks so they can be understood effectively. [ABSTRACT FROM AUTHOR]

Diffractive methodology is a recently established alternative to the interpretivist approach commonly used in educational research. Unlike epistemological practices grounded in representation, it recognises knowledge making as performative and emergent from difference. This paper offers new insights into diffractive readings in early childhood science education through experimentation with entangled empirical video data, theoretical perspectives and transdisciplinary space. A methodological contribution is made by showing how critical points of difference are created when video footage of shared understandings held by early childhood practitioners encounters existing research on early childhood science education diffractively. These points of difference are made to matter and illuminated as affecting emergent new connections which can reconfigure dominant ways of understanding creativity in early childhood science education. In doing so, children's creative knowledge making practices in science enquiry are (re)presented as expansive, material knowing which is enacted at once through talk and materials. [ABSTRACT FROM AUTHOR]

In the light of the recent proliferation of interest in videographic methods in marketing and consumer research, we wish to make a call for thinking critically about the medium. In this article, we challenge traditional means of semiotic analysis and consider contexts outside aesthetic symbolism that take into account wider agencements of videographic inquiry. We sensitise thinking about videographic production to include a broad scope of influence beyond production and spectatorship. By positing a mode of desiring relationalities in 'semiocapitalist' markets, and through the illustrative example of pop-music videos, we show how videography not only produces symbols, but also has the tendency to discipline the viewer into particular subjective positions. We hope to add to the conceptual toolkit of aspiring video scholars and encourage them to be increasingly critical and reflexive about their potential impact. [ABSTRACT FROM AUTHOR]

What do consumers need from a narrative? How can videographers satisfy those needs? Through semi-structured interviews with 55 Eurostar passengers from 14 countries, this film documents how people define narratives, why they need them, and how they experience the effects of need for narrative. The adjoining commentary contributes to the development of videography as an attractive method by introducing the videographer's perspective and elucidating key story elements that can help satisfy viewers' needs for narrative. The suggested approach maintains the vivid quality of videography and respects its methodological rigour, while increasing its effectiveness in close alignment with a consumer society that visual communication increasingly permeates. As such, the commentary and the film jointly unveil videographers' etic and viewers' emic use and evaluation of the videographic method. [ABSTRACT FROM AUTHOR]

The audience is an important part of videography, but its role tends to be seen as passive and unengaged. The audience's experience is often guided in videography, with intended reaction made clear. Yet such an approach to the audience does not make use of the possibilities of videography for inciting active interaction and incorporating multiple interpretations. Previous research has suggested that videography has potential for interventional influence on audiences by taking on the performative turn in research. Developing more deeply the notions of performance and performativity in the context of videography, this paper proposes that one way to activate audiences, interact directly with them and engage them in meaning-making is to approach videography as performance. To provide practical suggestions for creating such performance, the paper contextualises videography as a recording medium, thus establishing its ontological position and ties to other media. [ABSTRACT FROM AUTHOR]

Building theory with ethnography and filmic research increasingly requires focussing on key practices or settings, instead of painting a broad panorama of a culture. But few authors discuss why and how to focus. This article provides a systematic discussion of the theoretical and methodological underpinnings of focusing ethnographic research by comparing different schools of thought and suggesting a practice theory-based approach. It argues that many research projects are focused but do not reflect on the process of focusing, describes how to identify focal settings or practices, and introduces sequential analysis as a tool for studying them. Analysing videos, documents and language are discussed in turn, and methods for ensuring quality in focused ethnography are suggested. Finally, the article provides recommendations for publishing focused ethnography as text or film. [ABSTRACT FROM AUTHOR]

Based on a review of the past 30 years of videographic research and outputs in the field of marketing, we highlight the key contributions that videography has made to the marketing literature and identify the key issues facing videographic research today. We develop a typology that identifies four ways that videography can contribute to theory development and verification, presenting new criteria for assessing academic videographies. We note that making theoretical contributions is one of the most difficult issues facing videographic researchers and that this is an area in need of significant developments to help the field progress. Finally, we envision what the future of videography might look like and consider the implications of new forms of videographies. [ABSTRACT FROM AUTHOR]

Copyright of Zeitschrift für Erziehungswissenschaft is the property of Springer Nature 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.)

Background: Bedside teaching (BST) is an essential and traditional clinical teaching format. It has been subject to various impediments and has transformed over time. Besides a decrease in bedside time, there has also been a didactic diversification. In order to use time at the bedside effectively and understand the current design of BST, we here offer an evidence-based insight into how BST is practiced. This may serve as a basis for a refinement of its didactic design. Methods: In the current study, we investigate the interrelationships between learning content and the social as well as spatial structures of BST. To this end, we have empirically analysed almost 80 hours of video material from a total of 36 BST sessions with good interrater reliability. Results: BST lasted on average 125 min, most of which was spent in plenary and less than a third of the time at the patient's bedside. History taking was primarily practiced at the bedside while case presentations, clinical reasoning and theoretical knowledge were largely taught away from the patient. Clinical examination took place to a similar extent in the patient's room and in the theory room. Conclusions: Even though the filmed BSTs are not purely "bedside", the teaching format investigated here is a typical example of undergraduate medical education. In order to maximize the teaching time available, a suitable learning space should be provided in addition to the bedside. Moreover, the clinical examination should be revised in its general sequence prior to the BST, and conscious decisions should be made regarding the social structure so as to optimize the potential of small groups and plenary sessions. [ABSTRACT FROM AUTHOR]

Effective fishery management necessitates understanding of resource partitioning by fishes that inhabit complex systems composed of biotic and abiotic features. Evaluations of non‐native species introductions have continually demonstrated adverse effects associated with abundance and distribution of native fishes. Therefore, understanding resource selection and interactions between native and non‐native species is important for recovery efforts. Habitat use by two native fish species (largescale sucker Catostomus macrocheilus [Girard] and mountain whitefish Prosopium williamsoni [Girard]) and one non‐native fish species (pumpkinseed Lepomis gibbosus [Linnaeus]) of the Kootenai River, Idaho, were evaluated in a laboratory stream system. Trials were conducted in allopatry and in sympatry with and without the presence of wood to describe habitat selection in the context of on‐going habitat rehabilitation efforts. Interactions were evident between native largescale sucker and non‐native pumpkinseed concerning use of a woody structure and current velocity. Mountain whitefish used low‐velocity habitats and selected locations that were further from wood when in sympatry with pumpkinseed. Our research suggests that habitat use of native, large‐river fishes may be influenced by the presence of a non‐native species, and that considering such interactions is critical when designing and implementing habitat rehabilitation efforts in river ecosystems. [ABSTRACT FROM AUTHOR]

Rattlesnakes are widespread mesopredators that are themselves killed and eaten by a host of other predators, including birds of prey and carnivorous mammals. Although anecdotal accounts of rattlesnake depredation are common, there are few quantitative data on encounter rates between rattlesnakes and their predators. Here we review a large database of encounters between rattlesnakes and their predators recorded from field videography of snakes in the sit-and-wait phase of their ambush hunting strategy. We found that, across 8300 hours of observation, adult rattlesnakes of six species and multiple populations exhibit low encounter rates with predators; furthermore, when predators were encountered, we never observed them to attack or kill coiled snakes. Thus, we propose that rattlesnakes are preyed upon while performing other, riskier behaviors associated with moving through the landscape. We also discuss why rattlesnakes are at low risk of predation while hunting on the surface. [ABSTRACT FROM AUTHOR]

Copyright of PODIUM- Revista de Ciencia y Tecnologia en la Cultura Física is the property of Universidad de Pinar del Rio 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.)

Véro Leduc has spent many years involved in different social causes such as queer, sex worker and feminist movements, promoting their voices on public places. When she arrived in the Deaf community, she wanted to produce a graphic novel so that Deaf folks could wave hands to hearing people, to get their attention and consideration. Realizing Quebec Sign Language is an embodied language for which there is no systematic writing, she spent a couple insomniac nights trying to figure out how to write this language. If writing—an act through which language is inscribed on a medium—is capable of communicating, reflecting upon, debating, citing, remembering, and translating knowledge, what kind of writing is needed for signed knowledge to exist? This chapter relates her journey of creating a graphic novel in Quebec Sign Language and her reflections on the agency digital media are offering for Deaf and signed epistemologies. [ABSTRACT FROM AUTHOR]

Review of Film Directing: Shot by Shot--25th Anniversary Edition: Visualizing from Concept to Screen. [ABSTRACT FROM AUTHOR]

Film geography as a subdiscipline of cultural and media geography is a long-established field of research that since its emergence more than twenty years ago has diversified into a variety of perspectives. Nowadays, a critical perspective on film is central, which no longer considers the medium merely as a text, but rather as a social practice—a perspective that continues to focus not solely on the meaning of representations, but on what representations do and how they do it. Following Roberts' (in: Edensor, Kalandides, Kothari (eds) The Routledge handbook of place, Routledge, London, 2020) call for 'doing film geography,' this introductory article to the Geojournal Special Issue on Film Geography provides an overview of current trends in the field as well as an overview of the essays included in this collection. In addition to the established film-as-text perspective, we examine the burgeoning research in cinematic cartography, film industry geographies, and videography/documentaries. [ABSTRACT FROM AUTHOR]

Copyright of Zeitschrift für Qualitative Forschung (ZQF) is the property of Verlag Barbara Budrich GmbH 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 significance of raptor predation has been repeatedly emphasized in studies on arboreal primates; however, there are few studies on the predation of primates by raptors in primate-rich forest environments. Among the raptor species, the crowned eagle in Africa is known to be a primate-predator. In this study, a video camera was set up at the nesting site of a crowned eagle pair in the Mahale Mountains National Park in Tanzania, and the prey species delivered to the nest by the pair were identified by analyzing the video footage. Of the 46 prey deliveries recorded during 4.5 months of recording in the nestling season, primates accounted for 26 cases, of which 16 were red-tailed monkeys, the most abundant primates in the area. No prey was clearly identified as red colobus, despite a seemingly high density of this monkey species. This result suggests that predation by the eagles was biased toward the red-tailed monkey in Mahale, whereas no such bias toward the same monkey species was reported in a previous study conducted in Kibale. Furthermore, among different predator species in Mahale, only the crowned eagle prey primarily on red-tailed monkeys. Although chimpanzees and leopards inhabiting the study area are also significant predators of monkeys, these two species prefer red colobus to red-tailed monkeys. This suggests that these two monkey species living in the same forest have different primary predatory threats. [ABSTRACT FROM AUTHOR]

There is increasing interest in organizational scholarship in the role of place. To support these developments, we offer a framework for place-sensitive research in organizational analysis. The notion of place refers to a unique location, endowed with a material from and a socially constructed set of meanings. In line with the phenomenology of place, our framework first distinguishes between two ontologies of place: place as experience—through which people develop a sense of place—and place as practice—through which people engage collectively to make places. Second, our framework distinguishes between three temporal orientations in relation to place: past, present, and future. We then draw from research in geography to reflect on two under-explored methodological toolkits to collect data on and analyze place as experience and place as practice in organization studies: walking interviews, and geographical videography. [ABSTRACT FROM AUTHOR]

The job of a camera operator is challenging, and potentially dangerous, when filming long moving camera shots. Broadly, the operator must keep the actors in frame while safely navigating around obstacles and while fulfilling an artistic vision. We propose a unified hardware and software system that distributes some of the camera operator's burden, freeing the operator up to focus on safety and aesthetics during a take. Our real-time system provides solo operators with end-to-end control so that they can balance on-set responsiveness to action against planned storyboards and framing while looking where they are going. By default, we film without a field monitor. Our LookOut system is built around a lightweight commodity camera gimbal mechanism, with heavy modifications to the controller, which would normally just provide active stabilization. Our control algorithm reacts to speech commands, video, and a premade script. Specifically, our automatic monitoring of the live video feed saves the operator from distractions. In preproduction, an artist uses our graphical user interface (GUI) to design a sequence of high-level camera "behaviors." Those can be specific, based on a storyboard, or looser objectives, such as "frame both actors." Then, during filming, a machine-readable script, exported from the GUI, ties together with the sensor readings to drive the gimbal. To validate our algorithm, we compared tracking strategies, interfaces, and hardware protocols and collected impressions from (a) filmmakers who used all aspects of our system and (b) filmmakers who watched footage filmed using LookOut. [ABSTRACT FROM AUTHOR]