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Pinto, Paulo da Costa Luis da Fonseca. "An interaction model for multimedia composition." Thesis, University of Kent, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.317594.
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Chen, Chi Wai, and cwchen@ied edu hk. "The creative process of computer-assisted composition and multimedia composition - visual images and music." RMIT University. Education, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080107.115525.
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This research study investigates how music technology can enhance and develop the musical ideas of students, focusing on the creative processes involved in computer-assisted composition and multimedia composition. The study investigates the Creative Multimedia Music Project, a module of the Associate of Arts (Music) Degree where students are using computers as music workstations. The aims of the study are (a) to evaluate the use of music technology for composing; (b) to describe the creative process of composing and investigate how the students comprehend this; and (c) to analyze the relationship between the creative process of the musical treatment and the visual image in multimedia composition. The study is conducted in an exploratory, self-directed environment where the students make musical decisions about their compositions. From the preliminary survey, 10 out of 45 music-major students (Year Two) from the Associate Degree Music Program at the Hong Kong Institute of Education (HKIEd) were selected. Composition activities took place over 15 sessions. The first phase focused on computer-assisted composition and the second phase focused on multimedia composition. The students attended lectures on alternate weeks. This gave them enough time to compose in the laboratory or at home, allowing them to explore, make decisions, and evaluate decisions. Data were collected from four sources: (1) written reports including a musical analysis of the creative process, (2) one-to-one interviews conducted during and after the creative process (15 questions were asked in each phase), (3) self-reflective journals that students maintained during their creative process, and (4) MIDI file observations after the creative process had occurred. After data collection, commonalities between each of these data sources were analyzed. This highlighted that during the creative process, a developmental pattern emerged that extends Webster's model (2003) of creative thinking in music. The relationships between the findings and the lite rature review were articulated to reinforce the creative thinking model, trends, and perspectives from different sources. Through an analysis of these students' creative processes and the strategies they adopted while composing with music technology, research projects such as this one may provide composers, music technologists, and music educators with insights into how students approach the task of composing using music technology. The findings might prove as a useful guidance to music educators on how to structure computer-assisted composition and multimedia composition programs for different age groups from school to university.
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Fitzgerald, Thomas A. "New music composition for live performance and interactive multimedia." Faculty of Creative Arts, 2004. http://ro.uow.edu.au/theses/284.
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The focus of this DCA thesis is the development of original creative audio and audio-visual work. Central to this is a study of the nature of interactivity and sonic relationships between electroacoustic and acoustic music, extended further by the application of sonic and visual interactivity. This written documentation accompanies the major part of the DCA submission, a folio of five original works. Its purpose is to clarify, document and contextualise the creation of these works and to illuminate the aesthetic underpinnings and compositional techniques that I have developed during the period 2000 � 2004. The structure of this documentation is in three parts which support the research methodology of reflective investigation. This process begins with an introductory overview (Chapter 1). This is extended in the second part, (Chapters 2�5), an observation of the effect of the culture, contemporary musical environments and related creative practice in my work. The third part, (Chapters 6�10), details the nature, and techniques utilized in the development of the new works. These developments have also embraced the combination of live projected interactive visual imagery with acoustic and electronic instrumentation. Finally, I have investigated the role of sonic spatialisation and texture as expressive and structural devices in music composition.
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Khan, Muhammad Asadullah. "Aspect-oriented adaptation composition and dynamic reconfiguration in multimedia frameworks." Lübeck Zentrale Hochschulbibliothek Lübeck, 2010. http://d-nb.info/1002133513/34.
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Zhou, J. (Jiehan). "Pervasive service computing: community coordinated multimedia, context awareness, and service composition." Doctoral thesis, Oulun yliopisto, 2011. http://urn.fi/urn:isbn:9789514296451.
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Abstract This thesis introduces a novel Web service-centric solution to pervasive computing, called Service-oriented Pervasive Computing (also called Pervasive Service Computing), which enables computer systems to deal with context in the user’s environment, to dynamically discover and compose existing services, and to develop Internet-scale multimedia applications that support users’ activities. First, this thesis introduces the concept of Pervasive Service Computing and its relation to community coordinated multimedia, context awareness, and service-oriented computing. It then investigates the state of the art, the practices, and techniques which have been developed to support such services. Building on these tools, this study adopts a service-oriented methodology to design a reference model for Pervasive Service Computing, for accommodating specified technical requirements. This model can serve as a guide for research and development towards Pervasive Service Computing. Second, the thesis examines the nature of community coordinated multimedia, and develops the concept of Community Coordinated Multimedia (CCM). To discover the potentials of discoverability and composability of multimedia applications, the thesis introduces a model for Service-oriented Community Coordinated Multimedia (SCCM), and demonstrates the idea of “multimedia application as a service.” Furthermore, the thesis presents a content annotation service and evaluates its feasibility as an end-user prototype. Third, the thesis investigates the nature of context awareness in Pervasive Service Computing, to broaden the definition of context and context-awareness. This research introduces context-aware pervasive service composition (CAPSC) applications, and specifies three-levels of context awareness. Building on this framework, the context-aware service composition prototype is implemented. Fourth, the author examines the overall potential of service composition in Pervasive Service Computing, distinguishes its two main functions as service collaboration, and service coordination, and then develops an ODPSC (Ontology-Driven Pervasive Service Composition) ontology. To address the availability and scalability of service composition, the thesis introduces options for dynamic service composition in the Cloud, and develops an accelerated Cloud architecture for service composition in the Cloud (namely CM4SC middleware). Last, the CM4SC middleware as a service prototype is implementedTiivistelmä Tässä työssä käsitellään uutta jokapaikan tietotekniikan Web-palvelukeskeistä ratkaisua, palveluorientoitunutta jokapaikan tietotekniikkaa (Pervasive Service Computing). Tämän avulla tietokonejärjestelmät voivat ottaa huomioon käyttäjän ympäristön tilanteen, löytää ja koota palveluja dynaamisesti, ja näin voidaan kehittää Internetin laajuisia käyttäjän toimintoja tukevia multimediasovelluksia. Ensiksi työssä esitellään jokapaikan tietotekniikan palvelujen käsite sekä tällaisten palveluiden suhde yhteisöllisesti koordinoituun multimediaan, tilannetietoisuuten ja palveluorientoituneeseen tietotekniikkaan. Tieteen nykytila sekä tällaisia palveluja tukemaan kehitetyt käytännöt ja tekniikat esitellään. Näihin työkaluihin pohjautuen työssä omaksutaan palveluorientoitunut metodiikka, kun jokapaikan tietotekniikan palveluille suunnitellaan referenssimalli, jonka avulla voidaan määritellä teknisiä vaatimuksia ja joka voi muutenkin toimia ohjenuorana jokapaikan tietotekniikan palvelujen tutkimukselle ja tuotekehitykselle. Toiseksi työssä tutkitaan yhteisöllisesti koordinoidun multimedian ominaispiirteitä ja määritellään yhteisöllisesti koordinoidun multimedian (Community Coordinated Multimedia, CCM) käsite. Multimediasovellusten löydettävyyden ja kokoamisen mahdollisuuksien kartoittamiseen luodaan palveluorientoitunut CCM-malli (Service-oriented Community Coordinated Multimedia, SCCM). Työssä esitellään ”multimediasovellus palveluna” -idea, jonka käyttökelpoisuutta arvioidaan sisältöpohjaisen annotoinnin prototyyppiratkaisun avulla. Kolmanneksi työssä tutkitaan jokapaikan tietotekniikan palvelujen tilannetietoisuutta laajentamalla tilanteen ja tilannetietoisuuden määritelmiä. Tutkimus esittelee tilannetietoiseen jokapaikan tietotekniikan palvelujen kokoamiseen (Context-Aware Pervasive Service Composition, CAPSC) perustuvia sovelluksia ja määrittelee kolme tasoa tilannetietoisuudelle. Tämän viitekehyksen avulla toteutetaan tilannetietoinen palvelujen kokoamisen prototyyppi. Neljänneksi työssä arvioidaan jokapaikan tietotekniikan palvelujen kokoamisen mahdollisuuksia, tunnistetaan sen kaksi keskeistä toiminnallisuutta, palvelujen yhteistoiminnallisuus (service collaboration) ja palvelujen koordinointi (service coordination), sekä kehitetään ODPSC (Ontology-Driven Pervasive Service Composition) -ontologia. Työssä esitetään saavutettavuuden ja laajennettavuuden haasteisiin ratkaisuksi dynaaminen palvelujen kokoaminen pilvipalveluna. Työssä kehitetään kiihdytetty pilviarkkitehtuuri (CM4SC-välikerrosohjelmisto) palvelujen kokoamiseen pilvessä. Lopuksi työssä toteutetaan CM4SC-välikerrosohjelmiston palveluprototyyppi
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MacDonald, James Donald III. "Study in Rain and Light: An approach for audiovisual composition." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1554491734331463.
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Karmouch, Eric. "Dynamic Composition and Management of Virtual Devices for Ad Hoc Multimedia Service Delivery." Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/19865.
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Pervasive computing implies the invisibility of the technology involved in providing ubiquity, such that technology is integrated into the environment and non-intrusive. In such a manner, computing and networking resources become diffused into physical environments, enabling users to exploit their provided functionalities such that functionality is distributed, enabling it to be controlled, monitored, managed, and extended beyond what it was initially designed to do. Moreover, computer awareness moves towards user-centricity, whereby systems seamlessly adapt to the characteristics, preferences, and current situations of users and their respective surrounding environments. Users exploit such functionalities in the form of a virtual device, whereby a collection of heterogeneous devices in the vicinity of the user are behaving as one single homogeneous device for the benefit of the user in solving some given task.
This dissertation investigates the problem of dynamic composition and management of virtual devices for ad hoc multimedia service delivery and proposes an autonomous policy driven framework for virtual device management. The framework consists of a hierarchical structure of distributed elements, including autonomic elements, all working towards the self-management of virtual devices. The research presented in this dissertation addresses the functionalities of these components.
More specifically, contributions are made towards the autonomous management of virtual devices, moving away from infrastructure based schemes with heavy user involvement to decentralized and zero touch (i.e., no user involvement) solutions. In doing so, the components and methodology behind a policy-driven autonomous framework for the dynamic discovery, selection, and composition of multimodal multi-device services are presented. The framework operates in an ad hoc network setting and introduces a Service Overlay Network (SON) based definition of a virtual device.
Furthermore, device and service discovery, composition, integration, and adaptation schemes are designed for Mobile Ad hoc Network Environments (MANETs) enabling users to generate, on-the-fly, complex strong specific systems, embedding in a distributed manner, QoS models providing compositions that form the best possible virtual device at the time of need.
Experimental studies are presented to demonstrate the performance of the proposed schemes.
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Khan, Muhammad Asadullah [Verfasser]. "Aspect-oriented adaptation composition and dynamic reconfiguration in multimedia frameworks / Muhammad Asadullah Khan." Lübeck : Zentrale Hochschulbibliothek Lübeck, 2010. http://d-nb.info/1002133513/34.
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Parker, Beard Jeannie C. Ph D. "Composing on the Screen: Student Perceptions of Traditional and Multimodal Composition." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/english_diss/98.
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When college composition teachers carefully consider the role and function of multimodal composition in their classrooms, they can enhance the teaching of writing and communication, engage and empower students, and better prepare students for the challenges and possibilities of life in our rapidly changing digital age. To meet this teaching challenge and study the impact of multimedia on student writers, I designed this mixed-methods case study to examine how video documentary essays function as a form of multimodal composition in first-year composition courses and how these types of texts may enhance the teaching of traditional composition skills, as well as contribute to the academic and professional communication skills of students. The study was designed to determine how students react to multimodal composition and how they view the benefits as well as pitfalls of composing new kinds of texts in their first-year writing courses. This teacher research was conducted at a mid-sized, urban community college located in southern Tennessee. I used surveys, interviews and reflection essays to collect the data from student participants. I then analyzed the collected data for this project. My conclusions are that students learn valuable skills in the multimodal composition process, such as organization and time management, in addition to learning how to use movie-making software. Students also develop a keener sense of audience and purpose when they compose video documentary essays. Multimodal composition can be used to teach traditional writing and rhetoric. Multimodal composition can be used to enhance the teaching of writing and communication, engage and empower students to participate in convergence culture, and better prepare them for the challenges and possibilities of life in our rapidly changing digital age.
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deDeugd-McComas, Inez S. "I Lost my Life in Long Term Parking." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1250691957.
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So, Ka Wai. "Sound and image : musical compositions in realization of intermedia." HKBU Institutional Repository, 2010. http://repository.hkbu.edu.hk/etd_ra/1197.
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Beaulac, Jacqueline. "Interactive multimedia composition on the World Wide Web : a solution for musicians using Java." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33270.
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This thesis attempts to gauge the strengths and limitations of the Java programming language in terms of its use in the production of multimedia compositions: in particular, the ways in which Java supports the creation of interactive, non-deterministic musical works. An original solution to the problem of multimedia design is presented: a hierarchically defined, basic, yet flexible scripting language that is interpreted using Java. This scripting language allows the user to incorporate his/her own media into a coherent and interactive form using a small set of simple keywords and basic operators. It also allows new functionality to be added by advanced users with a basic knowledge of Java. By investigating how such a scripting language may be implemented, the extent to which Java may be applied towards multimedia applications in general is revealed.
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Lough, Alex Joseph. "Sonic Activation: a Multimedia Performance-Installation." FIU Digital Commons, 2016. http://digitalcommons.fiu.edu/etd/2632.
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Sonic Activation is a multimedia performance-installation featuring sound sculptures, video projections, and performance with live electronics for solo and mixed ensembles. The work aims to unpack the nature in which we hear and interact with sound, space, and gesture. It is a project that recontextualizes the typical practice of performance and installation modes of music and art. The event uses 12 loudspeakers spaced around a gallery to create a densely layered sonic atmosphere that gently fluctuates and slowly evolves. Throughout the event, the audience is encouraged to freely navigate the gallery and experience the subtle changes in sound as they manifest in the space.
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Lenz, Kent Alan. "The Semiotics, Practical Application, and Assessment of the Modalities." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1398773919.
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Ciciliani-Stiglmayer, Marko. "Dirty light : the application of musical principles to the organisation of light as an extension of musical expression into the non-figurative visual realm." Thesis, Brunel University, 2010. http://bura.brunel.ac.uk/handle/2438/5075.
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This thesis describes a number of compositions in which the objective was to investigate whether, and how far, the organisation of light can function as an extension of musical expression in the non-figurative visual realm. I explore the extent to which sound and light are compatible as media, in the sense of both being able to communicate a common set of ideas. The thesis begins by placing the discussion in a historical context, with an overview of the history of analogies between sound and light from Antiquity to the 19th century, as well as the history of Light Art. The second part of the thesis describes synaesthesia as a historically developed aesthetic concept and as a field of research that reveals interesting facts about the neuronal processing of stimulations from the senses. The third part forms the core of the research. It leads from a general historic discussion to more specific problems that emerged in my own work with sound and light. Light is a medium strongly characterised by purity; at first, light therefore seemed an inappropriate medium in which to offer plausible translations of different degrees of sonic noise. However, because of the importance that the inclusion of noise has taken in music since the 20th century, this would have meant a severe handicap in looking for a homological relationship between sound and light in artistic contexts. From a discussion of the broad implications the idea of dirt has in social and cultural contexts, the focus is eventually reduced to the aesthetic problem at hand. By means of a classification of three different sorts of noise, a more differentiated understanding becomes possible of the various functions that noise can have. Corresponding forms of ‘dirty light’ eventually become conceivable and artistically applicable. In the fourth part, six compositions and one audiovisual installation are discussed. Each of these works explores different relationships between the visual and sonic component. When appropriate, the various concepts of ‘dirty light’ that have been derived in the third part are reflected in the form of concrete examples. After discussing each work individually, certain practical problems are addressed that surfaced repeatedly under different performance circumstances. In the fifth part I pose the question of how far events that are conceived to be musical have to be based on sonic events. Common definitions of music that describe sonic events as its exclusive concern are questioned and a number of examples of music are discussed where the sonic outcome is hardly audible or even completely silent. I propose a notion that conceives music as a larger field of activity in which visual manifestations form an integral part. The seven audiovisual works form the practical component of this dissertation. As a result of this research a more differentiated understanding of the nature of the coupling of sound and light has emerged, alongside a comprehension of the at times strongly differing views on the general nature of cross-disciplinary works.
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Virtue, Andrew D. "Composing in new environments incorporating new media writing in the composition classroom /." View electronic thesis, 2008. http://dl.uncw.edu/etd/2008-1/virtuea/andrewvirtue.pdf.
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Bezi, Nicole Allison. "Exploring creative writing in the middle school classroom via the effective use of multimedia." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2800.
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The purpose of this project is to develop a website by which students can improve their understanding of literary elements. This project will aid the students in completing some research as part of the initial stages of the WebQuest, to help them better understand the importance of literary elements.
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Gordon, Jessica B. "MULTIMODAL PEDAGOGIES, PROCESSES AND PROJECTS: WRITING TEACHERS KNOW MORE THAN WE MAY THINK ABOUT TEACHING MULTIMODAL COMPOSITION." VCU Scholars Compass, 2017. https://scholarscompass.vcu.edu/etd/5165.
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Multimodal writing refers to texts that use more than one communicative mode to convey information. While there is much scholarship that examines the history of alphabetic writing instruction and the alphabetic composing processes of students, little research explores the historical origins of multimodal composition and the processes in which students engage as they compose multimodal texts. This two-part project takes a fresh approach to studying multimodal writing by exploring the multimodal pedagogies of ancient Greek and Roman rhetoric and writing teachers, analyzing the role of mental and physical images in modern writers’ composing practices, and investigating contemporary students’ processes for composing multimodal texts.
In Part I, I re-imagine the history of multimodal writing by exploring the multimodal pedagogies that instructors of rhetoric and writing developed during Greek and Roman Antiquity, and I show how contemporary students use an array of multimodal composing processes that rely on both mental and physical images to write alphabetic text. In Part II, I share the results of a case study in which I investigate the processes students use to compose audio- and video-essays while enrolled in a multimodal writing course. This study explores what students know about multimodal writing before beginning the course, how they learn the software needed to compose these projects, the challenges students experience as they compose, and the similarities and differences students perceive between their own processes for composing alphabetic and multimodal texts.
Ultimately, I argue that composition teachers must acknowledge our long history of teaching with multimodal pedagogies and our experience composing alphabetic text through multimodal processes. Recognizing this lengthy history will decrease the anxiety that many composition teachers experience when tasked with teaching multimodal writing because, while typically only time and experience can grow confidence, in this case, a recognition of how much we already know will allow us to teach with the self-assurance we have earned.
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Holmes, Douglas B. "Jn4.gesture an interactive composition for dance /." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20031/holmes%5Fdouglas/index.htm.
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Makhanlall, David Paschal Narendra. "English Composition 100: Best Practices for Online Instruction." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/619.
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The objective of this dissertation is to explore the process of teaching English Composition in the asynchronous online format and to make recommendations for the best possible approach for continued student success. The teaching of English Composition is a complex subject and no two teachers will have the same approach. This matter is further complicated when online instruction is explored. An instructor cannot transplant an in-class course into the online format and expect the same results. This dissertation explores the best possible approach to teaching English Composition in an online environment with the use of multimedia applications. This exploration will address current methods of teaching English Composition online, will evaluate what seems to work well, will explore the concerns highlighted by educators and practitioners involved with English Composition online, and will highlight additional recommended advancements, both in methods of approach and technological innovations, that can bring to light instructional practices for further evaluation. This study will lead to an understanding of what these new emerging technologies are and the specifics of their use by both instructors and students alike online, and it will identify best practices in teaching English Composition online for the immediate future.
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Sakr, Ziad. "Designed system for the composition and protection of MPEG-4 and SMIL scenes and their multimedia content." Thesis, University of Ottawa (Canada), 2005. http://hdl.handle.net/10393/29257.
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For the past decade, there have been numerous research works focusing on the protection of digital images, audio, video, 3D virtual scenes, and software data from unauthorized use and distribution. With the emerging technology of the MPEG-4 standard, many different media objects, such as images, video, audio, and 3D virtual objects, may be combined together to compose a given MPEG-4 scene. A MPEG-4 scene can be composed using the MPEG-4 XMT textual-based format or the MPEG-4 BIFS compressed binary format. Using the MPEG-4 XMT standard, MPEG-4 scenes can easily be constructed. XMT allows content authors to exchange their content with other authors, tools, or service providers and facilitates interoperability with MPEG-4, X3D and SMIL. In order for owners and designers to protect and/or authenticate their work, some form of security needs to be applied to the MPEG-4 scenes and its media content.
This thesis presents the design of an MPEG-4 player that is able to compose or open a scene whether it is in the MPEG-4 BIFS format or the MPEG-4 XMT format. The scene can also be edited and modified with nodes or parts of the scene added, deleted, or translated in position with respect to the rest of the scene. All updates and modifications to the scene are viewed on the display scene graph. The MPEG-4 scene can also be saved in any of the desired formats whether the MPEG-4 BIFS for enhanced compression or the MPEG-4 XMT for ease of editing and modification.
The thesis also presents the design and implementation of a novel robust algorithm for the authentication and protection of MPEG-4 scenes and their media content. The algorithm is applied on the MPEG-4 XMT-A scenes. Even though the XMT structure lacks the noise components, which are considered a vital part for information hiding in media objects such as image, audio and video scenes, the designed and developed algorithm still proved to be robust against many forms of scene structure modifications and tampering attacks. Even if a given scene is in the MPEG-4 BIFS format, it can be converted to the MPEG-4 XMT format and then checked for authenticity and any located copyrighted material.
The design and implementation of a new algorithm for SMIL scene authentication and media content location and copyright protection is also presented in this thesis. The test results shown proved the algorithm to be robust against different scene structural modifications and tampering attacks.
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Schetinger, Victor Chitolina. "Beyond digital, imagens, and forensics : towards a regulation of trust in multimedia communication." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/182284.
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Esta tese discute o papel da Análise Forense de Imagens como reguladora de mídia digital na sociedade. Isto inclui um estudo com mais de 400 indivíduos para determinar suas capacidades de detectar edições em imagens. Os resultados desse experimento indicam que humanos são facilmente enganados por imagens digitais, tendo dificuldades em diferenciar entre imagens pristinas e editadas. A tese então analisa a efetividade do arsenal de análise forense de imagens contra o estado-da-arte de composição de imagens. Através da análise de padrões fundamentais de imagens, as técnicas forenses são capazes de detectar a presença da maioria das operações de composição testadas. A tese então apresenta uma abordagem alternativa para análise forense de imagens, baseada na geração automática de planos. Ao tratar o processo de inspeção de uma imagem como um plano composto de múltiplos passos, propusemos uma arquitetura que é capaz de indicar os passos necessários para analisar uma imagem. Os planos são baseados em uma modelagem formal do conhecimento e técnicas forenses, de modo que possam ser traduzidos em passos a serem executados. A tese então demonstra que os limites de tal abordagem dependem da dificuldade de validar tal solução. Isso é uma consequência da natureza dos problemas de análise forense de imagens: essencialmente, são problemas de confiança distribuída entre indivíduos com acesso limitado à informação. Essa configuração é analisada de diferentes perspectivas em busca dos limites práticos para a análise forense de imagens digitais. Os resultados dessa análise sugerem que a área falha em produzir soluções acessíveis para a sociedade não por limitações técnicas, mas pela falta de um engajamento multi-disciplinar. A tese então discute como paradoxos filosóficos surgem naturalmente em cenários de análise forense de imagens. A análise forense de imagens digitais lida, essencialmente, com comunicação humana e, como tal, está sujeita a todas suas complexidades. Finalmente, é argumentado que o caminho para construir soluções úteis para a sociedade requer um esforço coletivo de diferentes disciplinas do conhecimento. É responsabilidade da comunidade forense desenvolver uma teoria epistemológica comum e acessível para este projeto coletivo.This thesis discusses the role of Digital Image Forensics as a regulator of digital media in society. This includes a perceptual study with over 400 subjects to assess their ability to notice editing in images. The results of such experiment indicate that humans are easily fooled by digital images, not being able to tell apart edited and pristine images. The thesis then analyzes the effectiveness of the available arsenal of digital image forensics technology to detect image editing performed by state-of-the-art image-compositing techniques. By analyzing fundamental image patterns, forensics techniques can effectively detect the occurrence of most types of image compositing operations. In response to these two studies, the thesis presents an alternative approach to digital image forensics, based on automated plan generation. By treating the image inspection process as a plan comprised of different steps, it proposes an architecture that is able to guide an analyst choosing the next best step for inspecting an image. The generated plans are flexible, adapting on the fly to the observed results. The plans are based on a formal modelling of current forensics knowledge and techniques, so that they can be translated in steps to be executed. The thesis then shows that the limits of such an approach lie in the difficulty to validate results, which is a consequence of the setup of forensics problems: they are problems of distributed trust among parties with limited information. This scenario is analyzed from different perspectives in search for the practical limits of Digital Image Forensics as a whole. The results of such an analysis suggest that the field is lacking in providing practical and accessible solutions to society due to limited engagement in multidisciplinary research rather than due to limited technical proficiency. The thesis then discusses how paradoxes from philosophy, mathematics, and epistemology arise naturally in both real forensics scenarios, and in the theoretical foundations of the field. Digital Image Forensics ultimately deals with human communication and, as such, it is subject to all its complexities. Finally, it is argued that the path for providing useful solutions for society requires a collective engagement from different disciplines. It is the responsibility of the forensics community to develop a common, accessible epistemological framework for this collective enterprise.
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Sum, Ka Yi Kelly. "Musical compositions exploring real-time human-computer interaction with acoustic instruments." HKBU Institutional Repository, 2008. http://repository.hkbu.edu.hk/etd_ra/887.
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Murcott, Dominic Latutin. "PhD in Composition : A Practice-Led Investigation into the Relationship between Computer and Performer in Multimedia Performance and Installation." Thesis, Goldsmiths College (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504776.
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A Practice Led Inycstigation into the Relationship Between Computer and Live Performer in Multi-Media, Installation and Theatrical Settings. This research consists of nine compositions that chart the development of specific concepts and techniques involving instrume~performers working with computer technology. Drawing upon the composer's experience of groove-based music and multi-track recording, timing issues and the synchronisation of events become primary themes. The earlier pieces explore the relationship between players and fixed media, used both to reinforce and to re-Iocate a sense of temporal unity. Later pieces introduce interactive elements and real-time computer generated information, including on-screen score production. The inherent theatricality of the situations is exploited by placing the musical process at the foreground of the experience, an idea that is further enhanced by the rigorous embedding of film within some of the structures. Elements of sound installation are also included in the portfolio, not as a diversion from live instrumental performance but to consider alternative modes of listening and audience participation. The final piece Installation for String Quartet, explores the relationship with film in a multitude of ways: as a tool for the synchronisation of players with live electronic events; as a fundamental source of musical material; and crucially, using filmed conductors, as a method of extending and illuminating the performer's experience of ensemble timing. In addition the computer control of multiple films enables live tempo canons, a ·method theorised by Nancarrow but unrealised in his lifetime. Several of the works are accessible to student and amateur musicians, or to those without classical training. Where possible the technical requirements are minimised and the skills needed for their operation easily attainable, effectively widening the opportunity for participation in live electronics, interactive and generative music, multi-media and multi-tempi performance.
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Hutchens, Jason. "EDUCATIONAL HANDHELD VIDEO: EXAMINING SHOT COMPOSITION, GRAPHIC DESIGN, AND THEIR IMPACT ON LEARNING." Doctoral diss., University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2930.
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Formal features of video such as shot composition and graphic design can weigh heavily on the success or failure of educational videos. Many studies have assessed the proper use of these techniques given the psychological expectations that viewers have for video programming (Hawkins et al., 2002; Kenny, 2002; Lang, Zhou, Schwardtz, Bolls, & Potter, 2000; McCain, Chilberg, & Wakshlag, 1977; McCain & Repensky, 1972; Miller, 2005; Morris, 1984; Roe, 1998; Schmitt, Anderson, & Collins, 1999; Sherman & Etling, 1991; Tannenbaum & Fosdick, 1960; Wagner, 1953). This study examined formal features within the context of the newly emerging distribution method of viewing video productions on mobile handheld devices. Shot composition and graphic design were examined in the context of an educational video to measure whether or not they had any influence on user perceptions of learning and learning outcomes. The two formal features were modified for display on 24 inch screens and on 3.5 inch or smaller screens. Participants were shown one of the four modified treatments, then presented with a test to measure whether or not the modified formal features had any impact or influence on learning outcomes from a sample of 132 undergraduate college students. No significant differences were found to occur as a result of manipulation of formal features between the treatment groups.Ed.D.
Department of Educational Research, Technology and Leadership
Education
Educational Leadership EdD
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Covarrubias, Acosta Sabina. "Pour une écriture multimédia dans la composition musicale." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080116/document.
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Ce travail a pour but principal de répondre à certaines difficultés de notation rencontrées par les compositeurs. Dans un premier temps, nous nous se proposons de montrer les limites du système d’écriture musicale occidentale (SEMO) dans la notation de certains éléments de la musique et, dans un deuxième temps, de montrer les avantages qu’offre l’utilisation de l’écriture multimédia (EM). Les résultats de ce travail, obtenus à partir de six « expériences-projets de composition », montrent l’efficacité de l’EM : un ensemble de procédés qui permettent l'utilisation simultanée de plusieurs modes de représentation de l'information (tels que textes, sons, images fixes ou animées, entre autres), servant à noter un message afin de pouvoir le conserver et le transmettre du compositeur à l’interprète. Dans le cadre de la composition musicale, l’EM, telle que nous l’avons employée ici, s’est montrée efficace pour noter les éléments suivants : le timbre, des nouveaux modes de jeu, des nouvelles techniques vocales, des instructions pour l’emploi des logiciels ; et aussi l’EM s’est montrée efficace pour l’intégration des éléments suivants dans les œuvres de musique mixte : le jeu d’un musicien de tradition orale, des modes de jeu tirés des musiques de tradition orale et exécutés par un musicien de tradition écrite, une langue tonale (et l’expressivité liée aux genres de musique de tradition orale dans les œuvres écrites. À l’ensemble de notations multimédia déjà existantes et disponibles pour la composition musicale, nous ajoutons deux types de notation qui se sont révélés efficaces dans cette recherche : la notation auditive et la notation d’un savoir-faire au moyen de la vidéoThe main goal of this work is to solve some of the difficulties that composers encounter when notating music. Firstly, we describe how the Western musical notation (WMN) is limited when attempting to write specific musical elements. Secondly, we show the possible advantages that multimedia writing (MW) could offer on the notation of such elements. To address these issues, we used MW in six “experiments/composition projects” that were conceived to answer specific notation questions. The results obtained thereof allowed us to demonstrate the efficacy of MW for overcoming current limitations in music notation. More specifically, MW constitutes a group of procedures that allows to simultaneously represent information in different ways. This information could be either text, sounds, still or moving images, among others. Such procedures can be used to note down a message to further save it and transfer it from the composer to the performer. In the context of our experimental paradigms, MW has proven to be efficient for: the notation of timber, the integration of musicians from oral tradition in mixed music works, the incorporation of instrumental techniques drawn from oral tradition music into written music, the integration of a tonal language in a music score, the notation of new instrumental and vocal techniques, the guidance at using new software, and the incorporation of expressiveness associated to music styles of oral tradition into written works. We consider that two types of notation that proved to be efficient in this research could be added to the body of already existing MW, namely auditive notation and the notation of a know-how by the means of video
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Serrà, Julià Joan. "Identification of versions of the same musical composition by processing audio descriptions." Doctoral thesis, Universitat Pompeu Fabra, 2011. http://hdl.handle.net/10803/22674.
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This work focuses on the automatic identification of musical piece versions (alternate renditions of the same musical composition like cover songs, live recordings, remixes, etc.). In particular, we propose two core approaches for version identification: model-free and model-based ones. Furthermore, we introduce the use of post-processing strategies to improve the identification of versions. For all that we employ nonlinear signal analysis tools and concepts, complex networks, and time series models. Overall, our work brings automatic version identification to an unprecedented stage where high accuracies are achieved and, at the same time, explores promising directions for future research. Although our steps are guided by the nature of the considered signals (music recordings) and the characteristics of the task at hand (version identification), we believe our methodology can be easily transferred to other contexts and domains.Aquest treball es centra en la identificació automàtica de versions musicals (interpretacions alternatives d'una mateixa composició: 'covers', directes, remixos, etc.). En concret, proposem dos tiupus d'estratègies: la lliure de model i la basada en models. També introduïm tècniques de post-processat per tal de millorar la identificació de versions. Per fer tot això emprem conceptes relacionats amb l'anàlisi no linial de senyals, xarxes complexes i models de sèries temporals. En general, el nostre treball porta la identificació automàtica de versions a un estadi sense precedents on s'obtenen bons resultats i, al mateix temps, explora noves direccions de futur. Malgrat que els passos que seguim estan guiats per la natura dels senyals involucrats (enregistraments musicals) i les característiques de la tasca que volem solucionar (identificació de versions), creiem que la nostra metodologia es pot transferir fàcilment a altres àmbits i contextos.
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Adams, Megan Elizabeth. "Through Their Lenses: Examining Community-Sponsored Digital Literacy Practices in Appalachia." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1429194448.
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Zimmerman, Joshua J. "Ban Hammer: Rhetorics of Community Management in the Computer Game Industry." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/613263.
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This dissertation, "Ban Hammer: Rhetorics of Community Management in the Computer Game Industry," argues that community management, as an emerging corporate discipline, manages community discourse to produce particular subject-consumer attitudes and behaviors. Employing a multi-perspectival, suspensionist methodology, this dissertation analyzes the discursive practices of community managers working in the computer game industry, along with the communities themselves, to discover how computer game communities and computer game development organizations employ a wide variety of rhetorical strategies as they attempt to exert power over one another. Drawing from a wide range of sources in the study of rhetoric, community management, fan studies, computer game development, psychoanalysis, new media studies, and professional communication, this project argues that community manager's inhabit a unique discursive space, one characterized by unresolved and unresolvable discursive tension, and that the work of community managers has an ever increasing importance to both the computer game development cycle and the production of fan communities.
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Oliveiro, Mark 1983. "Compositional approaches within new media paradigms." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849618/.
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"Compositional Approaches to New Media Paradigms" is the discursive accompaniment to the original composition BoMoH, (a new media chamber opera. A variety of new media concepts and practices are discussed in relation to their use as a contemporary compositional methodology for computer musicians and digital content producers. This paper aligns relevant discourse with a variety of concepts as they influence and affect the compositional process. This paper does not propose a new working method; rather it draws attention to a contemporary interdisciplinary practice that facilitates new possibilities for engagement and aesthetics in digital art/music. Finally, in demonstrating a selection of the design principals, from a variety of new media theories of interest, in compositional structure and concept, it is my hope to provide composers and computer musicians with a tested resource that will function as a helpful set of working guidelines for producing new media enabled art, sonic or otherwise.
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Tollafield, Karen Andrus. "Writing Matters: Understanding the Writing Practices of Five Young Adults Self-Identifying on the LGBTQ Spectrum." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1468267685.
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Walsh-Moorman, Elizabeth A. "Multimodal Composing In Support of Disciplinary Literacy: A Search For Context In ELA and History Classrooms." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1515961727003752.
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Maynard, David Charles. "Paying Attention to the Alien: Reevaluating Composition Studies' Construction of Human Agency in Light of Secret Government Surveillance." University of Findlay / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=findlay149381947498726.
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Edwards, Dustin W. "Writing in the Flow: Assembling Tactical Rhetorics in an Age of Viral Circulation." Miami University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=miami1465213522.
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Delagrange, Susan Heckman. "Technologies of wonder (re)mediating rhetorical practice /." Columbus, Ohio : Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1132693298.
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Bradshaw, Jonathan L. "Rhetorics of Remaining: The Production and Circulation of Cultural Rhetorics in Appalachian Civic Organizations." Miami University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=miami1464681132.
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Saternus, Julie A. "Multilingual Literacy Practice in One School Community: Reading, Writing, and Being Across Japanese and English." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1563811516613295.
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Brunkhorst, Ingo. "Selection and verification of workflows in multimedia service compositions." Hannover Technische Informationsbibliothek und Universitätsbibliothek Hannover, 2010. http://d-nb.info/1001699521/34.
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Robisch, Katherine A. "Search Engine Optimization: A New Literacy Practice." University of Dayton / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1394533925.
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Cochran, Pamela A. "Q Code, Text, and Signs: A Study of the Social Semiotic Significance of QSL Cards." University of Findlay / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=findlay1484321999467252.
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Brunkhorst, Ingo [Verfasser]. "Selection and verification of workflows in multimedia service compositions / Ingo Brunkhorst." Hannover : Technische Informationsbibliothek und Universitätsbibliothek Hannover, 2010. http://d-nb.info/1001699521/34.
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Wilson, Craig Steven. "Using a computer negotiations simulation to improve the writing of English language learners in a specially designed academic instruction in English world history class." CSUSB ScholarWorks, 1998. https://scholarworks.lib.csusb.edu/etd-project/1672.
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Poland, Bailey. "The Impact of Sexist Rhetoric on Women's Participation in News Comments Sections." University of Findlay / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=findlay1494247181482129.
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August, Morganne Tinsley. "Magic at the Crossroads: the Rise of the Video Essay." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4299.
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This thesis examines the birth, rise in popularity, and evolution of the video essay, a subgenre of the essay found recently in online literary journals. Chapter one provides a brief history of the alphabetic essay as it expands to include photo essays, audio essays, and essay-films. The second chapter outlines the history of the online literary journal and John Bresland’s role in the introduction of the video essay as it appears in online journals. Chapter three contains an examination of the way image, text, and sound function in video essays and the tools and strategies essayists are using to create them. The fourth chapter is composed of three case studies of Bresland’s work in an attempt to analyze the continuing evolution and breadth of the form.
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Knirsch, Andreas. "Improved composability of software components through parallel hardware platforms for in-car multimedia systems." Thesis, University of Plymouth, 2015. http://hdl.handle.net/10026.1/3511.
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Recent years have witnessed a significant change to vehicular user interfaces (UI). This is the result of increased functionality, triggered by the continuous proliferation of vehicular software and computer systems. The UI represents the integration point that must fulfil particular requirements for usability despite the increased functionality. A concurrent present trend is the substitution of federated systems with integrated architectures. The steadily rising number of interacting functional components and the increasing integration density implies a growing complexity that has an effect on system development. This evolution raises demands for concepts that aid the composition of such complex and interactive embedded software systems, operated within safety critical environments. This thesis explores the requirements related to composability of software components, based on the example of In-Car Multimedia (ICM). This thesis proposes a novel software architecture that provides an integration path for next-generation ICM. The investigation begins with an examination of characteristics, existing frameworks and applied practice regarding the development and composition of ICM systems. To this end, constructive aspects are identified as potential means for improving composability of independently developed software components that differ in criticality, temporal and computational characteristics. This research examines the feasibility of partitioning software components by exploitation of parallel hardware architectures. Experimental evaluations demonstrate the applicability of encapsulated scheduling domains. These are achieved through the utilisation of multiple technologies that complement each other and provide different levels of containment, while featuring efficient communication to preserve adequate interoperability. In spite of allocating dedicated computational resources to software components, certain resources are still shared and require concurrent access. Particular attention has been paid to management of concurrent access to shared resources to consider the software components' individual criticality and derived priority. A software based resource arbiter is specified and evaluated to improve the system's determinism. Within the context of automotive interactive systems, the UI is of vital importance, as it must conceal inherent complexity to minimise driver distraction. Therefore, the architecture is enhanced with a UI compositing infrastructure to facilitate implementation of a homogenous and comprehensive look and feel despite the segregation of functionality. The core elements of the novel architecture are validated both individually and in combination through a proof-of-concept prototype. The proposed integral architecture supports the development and in particular the integration of mixed-critical and interactive systems.
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Adams, Laural L. "Theorizing Mental Models in Disciplinary Writing Ecologies through Scholarship, Talk-Aloud Protocols, and Semi-Structured Interviews." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1404717469.
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Scheffs-Endres, Barbara. "Sonate nº 2 e sonatine de Milosz Magin: a ideia do compositor na interpretação do executante." Doctoral thesis, Universidade de Évora, 2013. http://hdl.handle.net/10174/11959.
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Abstract:
This Doctoral Thesis is the first study about the interpretation of the Sonate Nº2 and the Sonatine for piano composed by Milosz Magin (1929-1999). The composer was also an excellent pianist and a great interpreter of the works of Frédéric Chopin. The dissertation combines the scores and the recordings of the Sonate Nº2 and the Sonatine made by Milosz Magin, shares them with the reader, interprets them and therefore, presents a personal conception about the interpretation of these works. The understanding of the composer's musical language, obtained through the analysis of the compositional processes of Milosz Magin and piano interpretations recorded by him is the basis for the interpretation of the Sonate Nº2 and the Sonatine. The individual and practical organization of these works made by the author of the dissertation takes into consideration this basis. Besides registering the author's personal experience of the said works, the dissertation has also the aim of helping other interpreters to find their own interpretative expressions regarding these pieces. Therefore, this dissertation starts from the point of view of the performer and it is written in a form of 'practical guide', which includes the examples in multimedia format, i.e., in video and audio formats;
Resumo:
Esta tese de doutoramento é o primeiro estudo sobre a interpretação quer da Sonate Nº2 quer da Sonatine para piano do compositor Milosz Magin (1929-1999). Milosz Magin foi também um excelente pianista e um grande intérprete das obras de Frédéric Chopin. Reunindo as partituras e gravações da Sonate Nº2 e da Sonatine, realizadas por Milosz Magin, esta tese compartilha-as com o leitor, analisa-as e em consequência apresenta uma concepção pessoal da interpretação das referidas obras. O entendimento da linguagem musical do compositor, obtido através da análise dos processos composicionais e das interpretações pianísticas gravadas por Milosz Magin, constitui o fundamento para a interpretação da Sonate Nº2 e da Sonatine. A elaboração prática destas obras, realizada pela autora, leva em consideração a dita base. Esta experiência está documentada e tem também o objectivo de ajudar outros intérpretes a que encontrem as próprias expressões interpretativas destas peças musicais. Sendo assim, este trabalho parte do ponto da vista do executante e está escrito na forma dum guia prático, que inclui exemplos em formatos áudio e vídeo.
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Lin, I.-Hsin, and 林易欣. "I-HSIN LIN MULTIMEDIA COMPOSITION RECITAL-ORIGINAL COMPOSITIONS WITH COMMENTARY OF HUMANOID." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/nzwnuv.
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碩士國立交通大學
音樂研究所
105
It is impossible, unless one is a person with synesthesia, to have hearing and visual stimulated simultaneously by a mono source of human sense for most people. Although synesthetes have developed their own pitch-color theories, these theories are subjective in its nature developed by personal experience. However, if had their pitch-color relationships examined, one could see that synesthetes tend to relate brighter colors to higher pitches, and their mappings of pitch-color relationship often lies in similar color spectrum. The first part of this paper analyzes the connection between color and music elements, compared between charts of pit relationship by different synesthetes in search of commonalities, and established a data transformation method, coined Color Wheel and Pitch Transfer System by the author, between pitches and music elements The second part is an analysis of the author’s multimedia composition HUMANOID, including form analysis, instrumentation, pitch and visual design, and stage and dancers design. This part of the paper also describes how color elements and music elements were transferred into data, then utilized in Color Wheel and Pitch Transfer System, and then how the transfer method was used as compositional method.
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Tsai, Chi-Fang, and 蔡季芳. "CHI-FANG TSAI MULTIMEDIA COMPOSITION RECITAL - ORIGINAL COMPOSITIONS WITH COMMENTARY OF “CHAMBER”." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/9423rf.
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碩士國立交通大學
音樂研究所
105
This thesis is a supporting paper of “Chamber”, an original multimedia composition. It consists of two parts. The first part introduces the creative concept. The second part presents the original musical score which includes “Chamber”. “Chamber" is a multi-media composition for soprano, electronic music and dancer. Using the core image of the Chinese word “樓” to be the main idea of this work, the functional meaning, such as "support" and "confine" are related in social phenomena. It reflects the possible problem in cross-cultural thinking. This thesis contains four chapters. The first chapter is the preface. The second features the background information, including motivation and related researchs. The third is the analysis of “Chamber”, detailing the stages, materials and the mainipulating of musical elements. And the last chapter is the conclusion of this thesis.
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Kao, Jui-Fu, and 高睿甫. "Open Relationship: An Original Multimedia Musical Composition with Commentary." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/74120722476497443415.
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碩士國立交通大學
音樂研究所
100
“Open relationship” refers to allowing members in a relationship to create the same kind of relationship with outsiders, usually in a romantic or sexual suggestion. I use the idiom, which is feared and stigmatized by the masses, as the title of my multimedia musical composition drawing materials from my experiences as a practitioner of open relationship. This article is the commentary and interpretation of this composition, including exploration of several compositional ideas and analysis of musical form. In the beginning of this composition, different numeric codes are used as arrangement of melodic design, the rondo form as the basis of open form, and a 16-hole chromatic harmonica as the only acoustic instrument. In the middle section, a solo part of pre-recorded tape music made of diverse news clips and jural interpretations are amplified in stereo. In the final, a real-time programmed interaction in SuperCollider describes the open relationship between the acoustic harmonica and synthesized sound from computer. The application of chromatic harmonica and SuperCollider is also briefly introduced in this article.