Video Piece Research Articles

Cultural Therapy and Concern for the Archive. The Case of Documentary Video Archives by Tomáš Rafa

In this paper, the author explores current perspectives on contemporary art projects through the concept of the archive. By applying a theoretical framework termed “concern for the archive”, the author aims to elucidate complex relationships between the archive as a medium and the situated practices of contemporary art. The paper examines contemporary art as a form of temporary memory storage, particularly through the analysis of Tomáš Rafa’s documentary films. It addresses two key questions: What specific aspects of concern for the archive can be identified in political or activist contemporary art? How does concern for the archive differ from archival care, and why is this distinction important? In the first section, the author discusses the “zones of contact” in political activist art, highlighting the formation of dialogical structures and distinguishing them from scientific research and purely documentary creation. The second section traces the layers of artistic training in Grzegorz Kowalski's renowned studio at the Academy of Fine Arts in Warsaw, where the author gained experience in organizing and documenting collective workshops. This part reveals the specifics of documentary video creation with its activist and archival overlaps. In the final sections, the author outlines a theoretical framework for interpreting documentary video pieces in relation to the concepts of archive, cultural trauma, and cultural therapy.

Human Activity Tracking System Using Pose Estimation Technique

Abstract: When some incident / any dangerous activity happens in the area the CCTV takes photos & video pieces of evidence of what happened there, but there are only few such system that can capture evidence in real-time and process it to conduct further actions of an incident. It waits for the police to come and resolve the issue and what happens is when police come the evidence are vanished. The drawbacks are that when such an incident happens out of 10 people only 1 or 2 will try tocall the police or ambulance but this also takes a lot of time, no quick decisions are taken to resolve the issue until the police gets informed about it. Also, if the accident / suspicious activityhappens on road then that road routes get blocked in some cases, the system’s model should be accurate enough to observethe situation and by predictions should proceed with the decision-making to help police to resolve the issue smoothly and as early as possible. Our solution for such a problem is to develop a system that uses CCTV surveillance systems with an advanced technological model with which it can capture required evidence. Also, we had developed a system that can recognize gestures of a person to detect if he/she is beating someone in the Realtime footage with the help of CNN, Keras, YOLO, MediaPipe and TensorFlow libraries. Quick notifications are sent to alert the police control rooms. At Control room police will allot the nearby required FRVs clusters by sending notifications to them of incident happened in a particular area

In Motion: An Adaptation of Enriched and Inclusive Audio Description Practices

In Motion is an audio-described video piece that applies techniques from audio-described museum tours. The piece, sound recording, and audio description were done by the author, allowing for an enriched audio description, which combines the practice of verbally describing images with sound recordings and personal insights from the author/describer. I propose that audio description (AD) can advance social justice since it can only exist if it includes disability justice and provides an opportunity for embodied reflexivity through art-based practices. In Motion is representative of how accessibility can be part of the creative process and not an afterthought. It also shows how audio description can advance social and disability justice.

“What does it mean to make a picture of the now?”

“What does it mean to make a picture of the now?”

From the Editor

From the Editor

BitCover: Enhanced BitTorrent for interactive VoD streaming over 5G and WiFi-Direct

This paper proposes the BitCover algorithm, which is a BitTorrent-based solution for video-on-demand streaming with user interactivity over 5G cellular networks. Its design primarily resides in: (i) forming clusters of mobile nodes to cooperatively exchange video pieces during playback, (ii) leveraging WiFi-Direct communication to offload part of the video-piece delivery from the 5G mobile-backhaul network, and (iii) deploying a novel peer-selection policy which improves communication-channel usage by prioritizing peers that own more downloaded video-pieces. Performance evaluation is carried out through simulations, assessing a set of metrics on a variety of multimedia scenarios. The final results are able to outline the algorithm’s effectiveness compared to other recent literature proposals. Within this context, our key contribution is thus to provide valuable insights for multimedia-application projects concerning 5G-cellular networks.

The New Incorporation of Video Art and Video Poetry during the COVID-19 Pandemic: A Matter of Myth or Existing Reality

This paper corresponds to an interdisciplinary investigation based on literature, art and new media to involve own experiences of video work and study of the health crisis between 2020 and 2021 in Spain. The main goal is to investigate the sample of the three videos produced on the coronavirus pandemic, creating a social dialogue to incorporate media arts together with literary arts. It is important to propose the two pieces of video, both the poem or the art discourse and the audiovisual technology to integrate the artwork’s interdisciplinary. Based on this discussion, it consists of a referential account of creative thinking toward the pain of patients in times of COVID-19. In conclusion, this incorporation of video art and video poetry, mainly, is facilitated to give the experimentation of artworks the opportunity to collaborate in the interdisciplinary or transdisciplinary project, depending on the connection or link between art and literature.

The New Incorporation of Video Art and Video Poetry during the COVID-19 Pandemic: A Matter of Myth or Existing Reality

This paper corresponds to an interdisciplinary investigation based on literature, art and new media to involve own experiences of video work and study of the health crisis between 2020 and 2021 in Spain. The main goal is to investigate the sample of the three videos produced on the coronavirus pandemic, creating a social dialogue to incorporate media arts together with literary arts. It is important to propose the two pieces of video, both the poem or the art discourse and the audiovisual technology to integrate the artwork’s interdisciplinary. Based on this discussion, it consists of a referential account of creative thinking toward the pain of patients in times of COVID-19. In conclusion, this incorporation of video art and video poetry, mainly, is facilitated to give the experimentation of artworks the opportunity to collaborate in the interdisciplinary or transdisciplinary project, depending on the connection or link between art and literature.

Design Thinking Strategies in Therapeutic Assessment of Adolescent Emotional Challenges

The adolescent phase in every individual's life is faced with an array of developmental hurdles, among them being various emotional strains in one way or the other. This study sought to investigate these varied emotional challenges that this cohort battles in this phase of their lives. The study was conducted in a Senior High School in Kumasi, Ghana. This study's population consisted of: Adolescents aged between 13 and 20 years, Adolescents aged between 16 years and 19 years The respondents were randomly sampled for this research. Through a non-structured interview and participant observations, data were gathered. Therapeutic solutions were sought through the adaptation of the Design Thinking Strategy processes. A 1:25-minute animated presentation was chosen and proposed through the ideation stages as an informative, educative piece of video that seeks to address the emotional challenges faced by adolescents to create awareness for both the said group and primary and secondary caregivers alike. The short video is also intended to educate caregivers safely and harmlessly. The results of this study revealed, majorly, among other concerns, the desire and need of most adolescents to be heard and understood by their parents and other primary caregivers.

PERANCANGAN ANIMASI 3D TAMAN WISATA BINJAI PARK DESA JIRAK KABUPATEN SAMBAS

3D (three-dimensional) animation is now familiar to most people. The use of 3-dimensional animation is now also increasingly common in filmmaking, advertising, and even as a medium of designing objects and buildings. The purpose of this research was to design and create a 3-dimensional garden animation video that can be used as visualizing objects that appear more real and close to their original form, in the design and creation of this animation researchers use the MDLC (Multimedia Deveploment Life Cycle) method, namely concept, design, material collecting, assembly, testing, and distribution. After that, the process of modeling objects with modeling techniques used, namely primitive modeling and Polygonal Modeling then entered the environment, texture, animating camera operation to the rendering stage using the Blender application, then into pieces of 3-dimensional animated video. After the process is complete, the process of combining videos that have been made in the Blender application and the addition of text and audio using Adobe Premiere Pro cc software. The last stage is the final rendering process that produces a 3-dimensional animation video of the park as a whole in the .mp4 file format with a video duration of 4 minutes

Coming off fossil fuels: Visual recollection of fossil fuel dependency

As participants of the global capitalist system, we have rich and lifelong experiences of living with fossil fuels. However, these experiences are often implicit in our everyday lives, and rarely formulated explicitly. Coming off Fossil Fuels is a project that visualises and collects personal experiences of fossil fuel dependencies. Experiences can include memories, current attachments and future dreams connected to fossil fuels. This article is a methodological account of collecting fossil fuel experiences through two modes of visual recollection: (1) an autobiographical video piece visualising the author’s own dependencies on fossil fuels and (2) gallery visitors’ fossil fuel experiences. The article utilises a participatory arts-based approach in which gallery visitors were able to react to the video in recorded responses. The video was presented as part of the 2022 LOOK Climate Lab thinking space in Open Eye Gallery, Liverpool, where video responses were collected. The article also discusses possibilities for developing a method of visual recollection by considering temporal and spatial dimensions of fossil fuel dependency.

From Medieval Romance to Contemporary Opera: Philosophy, Allegory, Eros

From Medieval Romance to Contemporary Opera: Philosophy, Allegory, Eros

Stages of Tectonic Blackness

Stages of Tectonic Blackness is a many-staged performance project and video piece tarrying with the paralleled processes of dehumanization and extraction, emergence and rebellion, as sustained by Black bodies and rock bodies. In our cultural moment so racked with urgency, Stages of Tectonic Blackness invites those engaging in the work to move slowly in order to feel more deeply into this time. As a durational practice of Black queer resistance, this work prioritizes Black experience, Black time, Black bodies and our racialized relationship to the earth.

The act of seeing with no eyes: a videographic project about visuality as an instrument of power

This article focuses on the video pieces from the project The act of seeing with no eyes (2020). The project consists of two videos that explore the concept of visuality as an instrument of power and a legitimising tool for the politics of domination and inequality. By the use of appropriated archive images, and using collage as the main montage technique, as well as a deconstructive strategy of appropriated material - the images are cut, superimposed and juxtaposed in a plastic way -, relations and contrasts are established between images captured by control and surveillance devices, together with different tests of visual perception. Through the formal and thematic analysis of the video pieces proposed in the project, as well as the study and comparison with other artistic references, the intention is to rethink the dialectic of the montage used, and how it allows us to re-signify the appropriated images, questioning visuality as a discourse of progress and emancipation.

Illuminations

One of the most important questions for videographic research today is the relationship between textuality and audiovisuality. Does textuality always have to frame and contextualize video, in order for it to be research? What if textuality were located topologically within video, instead of the other way around? Is text needed at all? Can’t some audiovisual material “speak” for itself? In 2020, as the Coronavirus pandemic was setting in, I decided to launch an open call for a special issue of illuminated videos. As I wrote in the call, many practitioners did not have the opportunity to work with others this year, because of the pandemic. I thought it might be a good time to ask people to go back into their video archives and think about how they might annotate and recontextualize selected audiovisual material. Contributors were asked to work with a piece of uncut video. No editing of the video or audio tracks was allowed, except for basic corrections. In other words, the audiovisual track has to follow its own temporality, without cuts. The contributions to this special issue are presented in order from shortest to longest. I hope this will be useful way to introduce the form of illuminated video.

Artificial Intelligence in Radiology: An Exciting Future, but Ethically Complex

“Let me start by saying a few things that seem obvious. I think if you work as a radiologist, you’re like the coyote that’s already over the edge of the cliff but hasn’t yet looked down, so doesn’t know there’s no ground underneath him. People should stop training radiologists now. It’s just completely obvious that within 5 years, deep learning is going to do better than radiologists, because it’s going to be able to get a lot more experience. It might be 10 years, but we’ve got plenty of radiologists already. I said this at a hospital, and it didn’t go down too well.” With those words at a 2016 Creative Destruction Lab (CDL) seminar on ‘Machine Learning and the Market for Intelligence’ in Toronto, Canada, Dr Geoff Hinton provided radiologists the world over with an uncomfortable prediction of their obsolescence (and provided a piece of video that always gets attention from audiences during speeches about artificial intelligence [AI] and radiology). Dr Hinton, an English/Canadian cognitive psychologist and computer scientist, is, fittingly, the great-great-grandson of George Boole. There have been many other such predictions in recent years, some from sources that know less about the subject than Dr Hinton. In October 2020, the Dutch Finance Minister, Wopke Hoekstra, said: “The work of the radiologist to a significant extent has become redundant, because […] a machine can read the images better than humans who studied 10 years for it.” He also commented that the same changes were occurring with supermarket checkout operators.

Educational motion graphic “Windmill, Then And Now”

The paper explored a planning of animation film which educated people about green energy. The research discussed Satrina Anggasta’s animated film. She is a student form Animation Program, Visual Communication Design Department, Bina Nusantara University. It was an artistic piece of video with simple style of design. The visual style of the film was a combination between 2D and 3D animation assets. A a qualitative analysis method based on interview from experts and book literature was applied to create a piece of information video that can entertain target audience. The result presents a movie describing a brief information about windmill that has been used a long time ago until now and how the windmill is changing from time to time using modern technology, to help people achieve better energy.

A new approach to enhance the appeal of the Italian territory through art: three study cases from Marche Region

Born from a desire to promote the landscape by integrating its origins and physical aesthetics with its naturalistic, cultural, and artistic heritage, we develop narratives about three locations in central Italy, telling them in the language of popular science, supported by the language of art. The different disciplines of science, poetry, and ancient music are applied to the same sites, producing emotional experiences where the encounter and interplay between different representations, and combinations of representations, become an expression of a place. The research introduces three geosites from the Marche Region, central Italy: I Sassi Simone e Simoncello, La Grotta della Beata Vergine di Frasassi, and the Infernaccio Gorge, in order to propose our multidisciplinary approach to the international public. These have been chosen for their value and charm, for their different processes of genesis and evolution, and for the cultural context and feelings they evoke. In a new approach to science communication, our study uses art in the form of music and poetry to encourage people to learn about landscapes. The paper explains the genesis and evolution of the three places, suggests trekking itineraries, includes a poem written specifically for each site, and describes a piece of ancient music and video and cultural offerings relating to each location. Our goal is to educate by fashioning a new perception of landscapes, starting with their physical beauty, and then building on scientific research in co-operation with arts, to improve what we know about their problems and weaknesses, but also about their culture and other strengths.

Structure and Didactic Principles of Educational Training Kit in German ‘Im Klartext A2’

English abstract: This educational training kit in German for beginners “Im Klartext A2” was developed in the tradition of an active approach to teaching the German language, The educational training kit (ETK) for studying German for students of higher education “Im Klartext A2” was worked out within communicative-action and competence approaches in foreign language teaching. This ETK builds A2 competences according to the CEFR. The structure and content of «Im Klartext A2» let the students to develop four types of speech activity: speaking, reading, writing and listening. The EKT includes a textbook, a workbook, audiotexts and video pieces on different storage devices. Russian abstract: Учебно-методический комплекс (УМК) по немецкому языку для начинающих «Im Klartext A2» разработан в традициях деятельностного подхода к обучению немецкому языку. УМК соответствует требованиям уровня А2 Общеевропейской шкалы владения иностранным языком. Структура УМК «Im Klartext A2» формирует у учащихся соответствующие компетенции в четырех видах речевой деятельности: говорении, чтении, письме и аудировании. УМК включает в себя учебное пособие (КВ), рабочую тетрадь для студентов (АВ) и аутентичные аудио- и видеоматериалы (М/M) для работы в мультимедийной аудитории, связанные с содержанием параграфа.

Performing death: Marina Abramović’s 7 Deaths of Maria Callas

This essay analyses the opera project 7 Deaths of Maria Callas by Marina Abramović, premiered in Munich in September, 2020. The first section reconstructs the role that the Greek soprano played in the life of the Serbian performer, bringing the latter to a gradual sense of self-identification. Then, the thirty-years-long development of the original concept of the video piece How to Die into the actual project through its various stages is taken into account, and the stage realisation of the work is described in detail. The third section focuses on the representation of death in Marina Abramović’s performances, while section four compares Callas and Abramović’s works and lives, and their status as iconic women. The last section retraces Abramović’s artistic path which has led her from her extreme and essential performances of the 1970s to her recent experimentations with other media and to her meditation on immaterial art.