Relevant bibliographies by topics / Video art

Academic literature on the topic 'Video art'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Video art"

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Chris, Cynthia. "Video Art." Afterimage 27, no. 5 (March 2000): 10–12. http://dx.doi.org/10.1525/aft.2000.27.5.10.

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Paik, Nam June. "Teaching Video Art." Performing Arts Journal 17, no. 2/3 (May 1995): 42. http://dx.doi.org/10.2307/3245775.

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Beller, Jonathan L. "Writing Video Art." Afterimage 26, no. 1 (July 1998): 14. http://dx.doi.org/10.1525/aft.1998.26.1.14.

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Castaño Díaz, Carlos Mauricio, and Worawach Tungtjitcharoen. "Art Video Games." Games and Culture 10, no. 1 (January 2015): 3–34. http://dx.doi.org/10.1177/1555412014557543.

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Chen, Jianhua. "Intelligent Recommendation System of Dance Art Video Resources Based on the Wireless Network." Security and Communication Networks 2021 (October 21, 2021): 1–7. http://dx.doi.org/10.1155/2021/3226580.

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Aiming at the problems of low recommendation accuracy and long recommendation time of the traditional dance art video resource intelligent recommendation system, an intelligent recommendation system of dance art video resource based on the wireless network was designed. In this paper, the hardware part of the smart recommendation system of dance art video resources is designed with the MCU as the system control core, the MAX3232 chip as the hardware transceiver chip, and the RS323 bus circuit. On this basis, according to the user’s existing relationship, a social network is constructed through wireless network technology to obtain user information, Bayesian network is used to predict the user’s preference for dance videos. The probability that users like dance videos is given in the form of data, and related videos of dance art are recommended based on intelligent video resources. The simulation results show that the designed system has higher accuracy and shorter recommendation time for dance art video resources.
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Dixon, Jeannette. "What is the place for documentary videos on living artists in the art library?" Art Libraries Journal 20, no. 2 (1995): 31–33. http://dx.doi.org/10.1017/s0307472200009354.

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Increasingly, video is the medium of choice for learning about art, because it is immediate and revealing. However, not all art libraries include artists’ documentary videos in their collections. For libraries, video presents problems of changing formats, fugitive qualities, lack of reviews, and insufficient information regarding their existence and their availability. Videos frequently accompany exhibitions on contemporary artists. What happens to this documentation when the exhibit closes? What resources besides the Getty’s Art on Film Database keep track of these independently produced videos? How can art libraries work together in a co-ordinated effort to acquire, catalog, and preserve documentary video work on artists?
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Cacchione, Orianna. "Related rhythms: Situating Zhang Peili and contemporary Chinese video art in the globalizing art world." Journal of Contemporary Chinese Art 5, no. 1 (March 1, 2018): 21–39. http://dx.doi.org/10.1386/jcca.5.1.21_1.

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Despite being considered the first video artist to work in China, the majority of Zhang Peili’s earliest video works were originally exhibited abroad. In many of these exhibitions, his videos were displayed in different installation formats and configurations. One of the most evident of these changes occurred at the travelling exhibition China Avant-Garde. In Berlin, the opening venue of the exhibition, two videos were displayed in ways that differed from their original presentations; Document on Hygiene No. 3 (1991) and Assignment No. 1 (1992) were presented as singlechannel videos on single monitors instead of the multiple monitor installations previously used to show the works in Shanghai and Paris, respectively. Water: Standard Version from the Cihai Dictionary (1991) premiered in Berlin as a single-channel, single-monitor work. However, when it was installed in the exhibition’s Rotterdam venue, the work was shown on a nine-monitor grid. This article explores what caused the flexibility in the display of Zhang Peili’s early videos. I argue that these transformations demonstrate Zhang Peili’s conceptualization of video as a medium for art and his navigation of the rapidly globalizing art world. While the initial examples of this flexibility in installation were often caused by miscommunications with international curators, later exhibitions provided a regular venue for Zhang Peili to develop his approach to the ‘scene’ (chang) and ‘content’ (neirong) of video installation. Furthermore, as one of the most active Chinese artists working and exhibiting abroad in the 1990s, Zhang Peili was placed within the middle of domestic and international debates about the globalization of contemporary Chinese art. He responded to these debates by expelling signifiers of national identity in his videos and by forcefully deriding these discussions as a form of nationalism. Considering his video work from the perspective of its international presentation provides an important example of how artists working in China situated themselves in relationship to global art production in the 1980s and 1990s.
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Smolev, Daniil D. "Video Aesthetics in Cinema and Video Art." Journal of Flm Arts and Film Studies 7, no. 3 (September 15, 2015): 109–18. http://dx.doi.org/10.17816/vgik73109-118.

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The article is devoted to the genesis and unique semantic characteristics of video aesthetics pertinent to both auteur cinema and modern art (video art, in particular). Being a kind of common denominator for these art forms, video aesthetics manifests itself differently in the art gallery and film theatre, in the duration of a video work and a feature film, in the mentality of a film director and an artist. The author makes an attempt to reveal the methods of reciprocal influence of the two art forms, their specific languages connected through video aesthetics illustrated by the work of Harmony Korine, Vincent Gallo, Philippe Grandrieux and Philippe Parreno.
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Et. al., G. Megala,. "State-Of-The-Art In Video Processing: Compression, Optimization And Retrieval." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 5 (April 11, 2021): 1256–72. http://dx.doi.org/10.17762/turcomat.v12i5.1793.

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Video compression plays a vital role in the modern social media networking with plethora of multimedia applications. It empowers transmission medium to competently transfer videos and enable resources to store the video efficiently. Nowadays high-resolution video data are transferred through the communication channel having high bit rate in order to send multiple compressed videos. There are many advances in transmission ability, efficient storage ways of these compressed video where compression is the primary task involved in multimedia services. This paper summarizes the compression standards, describes the main concepts involved in video coding. Video compression performs conversion of large raw bits of video sequence into a small compact one, achieving high compression ratio with good video perceptual quality. Removing redundant information is the main task in the video sequence compression. A survey on various block matching algorithms, quantization and entropy coding are focused. It is found that many of the methods having computational complexities needs improvement with optimization.
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Snell, Pamela. "Video, Art, and Dialogue." International Journal of Communication and Linguistic Studies 10, no. 1 (2013): 27–38. http://dx.doi.org/10.18848/2327-7882/cgp/v10i01/43645.

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Dissertations / Theses on the topic "Video art"

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Fidalgo, Christopher J. "Art, Gaut and Games: the Case for Why Some Video Games Are Art." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/philosophy_hontheses/5.

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In this paper, I argue that there are some video games which are art. I begin my paper by laying out several objections as to why video games could not be art. After laying out these objections, I present the theory of art I find most persuasive, Berys Gaut’s cluster concept of art. Because of the nature of Gaut’s cluster concept, I argue that video games, as a medium of expression, do not need to be defended as a whole. Rather, like all other media of expression, only certain works are worthy of the title art. I then introduce and defend several games as art. After, I return to the initial objections against video games and respond in light of my defended cases. I conclude that video games, as a medium of expression, are still growing, but every day there are more examples of video games as art.
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Lee, Yongwoo. "The origins of video art." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265205.

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Law, Sum-po Jamsen, and 羅琛堡. "Nietzsche, Deleuze and video art." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952665.

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Law, Sum-po Jamsen. "Nietzsche, Deleuze and video art." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2222693X.

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Berigny, Wall Caitilin de. "Documentary transforms into video installation via the processes of intertextuality and detournement /." Canberra : University of Canberra, 2006. http://erl.canberra.edu.au/public/adt-AUC20070723.103335/index.html.

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Thesis (PhD) -- University of Canberra, 2007.
Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy at the University of Canberra, May 2007. Includes filmography (leaves 124-126) and bibliography (leaves 130-136). Also available online.
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Sadlowski, Gail. "The Development of a Definition and Applied Evaluation Criteria for Psycho-Narrative Video Art." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc500553/.

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This thesis is concerned with three problems. The first is that of distinguishing and defining one category of video art. The second is developing criteria for the evaluation of works in this category. The third problem is the application of these criteria to a new psycho-narrative video art piece created by the author as well as two pieces by other artists. This paper examines the use of film and video as an art form, focusing on specific influences affecting the evolution of psycho-narrative video art. Definitions for video art and psycho-narrative video art are developed. Descriptive criteria and three critiques are used to justify the conclusions. A concluding artist statement presents the personal view of the author.
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Veber, Hélène. "Toi et moi aller-retour : l'installation vidéo comme reflet de l'humain /." Thèse, Chicoutimi : Montréal : Université du Québec à Chicoutimi ;. Université du Québec à Montréal, 2003. http://theses.uqac.ca.

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Dufour, Sophie-Isabelle. "Imaginem video : L'image vidéo dans l'"histoire longue" des images." Paris 3, 2004. http://www.theses.fr/2004PA030054.

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Que vois-je devant la vidéo? Je ne vois pas une vidéo, mais de l'image. La présente étude propose d'interroger le statut de l'image vidéo dans l'"histoire longue" des images. Il s'agit de déployer des problèmes multiséculaires qui ont surgi bien avant l'invention technique du médium considéré. Notre présupposé est qu'il y a une différence entre l'image - en tant que notion - et les images: l'on pourrait dire que l'image, difficile à définir, ne peut être appréhendée que dans les différents médiums qui l'actualisent. Aussi la vidéo est-elle traitée, ici, en tant qu'elle questionne l'image elle-même. Priorité sera donnée aux œuvres d'art, considérées comme plus révélatrices du statut de l'image vidéo. Mais par delà l'esthétique, les pouvoirs de l'image dépasseront ceux de l'art. Si la première question qu'affonte la présente étude est celle de l'amour de l'image, posée exemplairement par le mythe de Narcisse, c'est que celle-ci fait ensuite surgir d'autres questions fondamentales. C'est ainsi que la notion de fluidité se posera comme le fil conducteur de notre réflexion sur la fantomalité de l'image vidéo et sur sa spatialité. Notre étude des rapports entre l'image vidéo et le temps sera, quant à elle, orientée par la notion de flux - celle de Bergson en particulier. Il s'agira en fin de compte de penser l'image vidéo dans toute sa singularité
What do I see when I look at a video? Actually, I do not see a video but an image. My purpose is to study the status of video image from the point of view of the so-called " long history " of images, dealing therefore with very ancient problems that occured long before the technical invention of the medium. A distinction must be made between images and the very notion of image : one could say that the difficult notion of image can be specified only through the various media in which it embodies itself. In this study, video questions image itself. Art works will keep their privilege, because through them the status of video image is best revealed; but my intention is to show that the powers of image go far beyond aesthetics. The first problem will be the one raised by the myth of Narcissus, as a lover of image(s), because it is seminal. It leads, for instance, to the notion of fluidity, which will prove essential in my study of the " ghostliness " of video image (as well as in my study of space in video). Last but not least, the relations between time and video image should be specified with Bergson's help, and I shall try to prove how useful can be this philosopher's notion of time when one hopes to understand the singularity of video image
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Nosella, Carole. "Expérimenter les dispositifs écraniques, une esthétique du déplacement." Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20115.

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Cette thèse se propose de penser l’expérience des dispositifs écraniques à partir de pratiques artistiques contemporaines. Il s’agit d’analyser comment des artistes travaillant à partir d’images appareillées (de l’installation vidéo au cinéma expérimental en passant par le net art) et de leur mise en espace, opèrent des déplacements dans les diverses strates des dispositifs pour proposer des situations esthétiques qui relèvent du hors champ, de l’impensé, du refoulé des dispositifs écraniques fonctionnels, faisant écho aux frictions qui se jouent entre leur mode d’action et notre expérience.Face à la difficulté de définir les dispositifs écraniques de par la multiplicité de leurs formes et de leur usages, il est proposé en premier lieu une réflexion sur la notion de dispositif, corrélée à celles d’écran et de technologie (I). Puis sont considérées les tactiques artistiques permettant de détourner l’impact de ces dispositifs (par l’expérimentation de la mise en défaut, du détournement, de l’appropriation…). S’en suivent cinq mouvements, comme autant de voies de déplacement, qui abordent les dispositifs écraniques selon des entrées différentes : il s’agit de révéler la part d’être de l’appareil par des opérations plastiques et contextuelles (II), de créer des voies de figuration alternatives par et à travers l’interface (III), de détourner la relation physique et émotionnelle entretenue avec l’écran (IV), d’opposer à la mobilité des écrans celles des spectateurs (V), et enfin de confronter les dispositifs écraniques à l’épreuve de l’espace (VI). Un dernier chapitre propose une synthèse de ces déplacements concrétisée par l’analyse d’un projet de création (entrepris parallèlement aux recherches théoriques) où sont mis en œuvre les mouvements précités (VII).Les analyses plastiques sont étayées par des mises en perspective historiques et sociétales, avec une considération particulière pour les questions de réception et d’usage
In a time when screens are more and more studied and analysed, this thesis is based on observations of both users’ behaviors and contemporary artists’ productions.It chooses to present the experience created by screened devices and systems through these observations. It defines the screen as an apparatus — meaning, as a mix of different elements assembled for a specific purpose — which articulates separation and re-synthesising. We analyse how artists work with images in devices (from video installation to experimental cinema and net art) and how they use space to produce an attentional shift, therefore creating artworks that call for realizations.Facing the difficulties of clearly defining screened apparatus due to the multitudes of shapes they take and uses they create, we first orient our reflexion to the very notion of apparatus, combined with those of screen and technologie. Then we consider the artists’ tactics to hijack the impact of these apparatus (through experimentation, appropriation and misappropriation). This is followed by five movements, presented as possible means of displacements, each addressing, in its own way, the screened apparatus. We study the different relationships those screens can have inside the apparatus, and how they react and interact with space. We feed this research with analyses of artworks, historical and societal perspectives, with a special leaning towards the notions of reception and user’s experience
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Beyrouthy, Damien. "Corps peuplés d'images, corps peuplant l'image : interrogation par l'art vidéo d'un entremêlement à l'ère dite postmoderne." Thesis, Toulouse 2, 2015. http://www.theses.fr/2015TOU20001.

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Cette thèse explore comment l’art actuel, plus spécifiquement vidéo, permet d’interroger le rapport entre corps et images. Un lien étroit les unit aujourd’hui ; l’art vidéo, fruit de ce temps postmoderne, paraît assez adapté à son exploration. Tout d’abord, les modalités d’influence de l’image sont déclinées. Quatre sources appuient l’élaboration d’hypothèses : les théories psychanalytiques et phénoménologiques, des faits de société, des productions artistiques (provenant aussi bien d’artistes confirmés que de notre propre pratique) et les théories de l’image (histoire de l’art et esthétique). Une série de conclusions en ont été déduites : l'Homme actuel semble peuplé d’images ; celles-ci participent à la structuration de la perception, concurrencent les souvenirs et concourent à la détermination des formes de l’élaboration mentale. De ce fait, l’image définit significativement le corps postmoderne. Mais plusieurs rapports aux images restent possibles : l’utilisation, l’interaction, l’expérimentation. Ensuite, par le potentiel oscillatoire de l’art vidéo, l’interdépendance corps/image est approfondie. La partie II met en regard corps sensible et corps représenté à travers les traces fluctuantes du référent dans la représentation vidéo – par les couples apparition/disparition, surface/épaisseur, sens/non-sens – afin d’explorer le corps rêvé, vécu et le rapport au corps représenté. La partie III montre le jeu entre la liaison et la déliaison du corps représenté avec le décor – porté par l’incrustation, le remontage et la composition vidéo. Cela permet d’aborder le positionnement et l’articulation, du corps et de sa représentation, aux images. Cette approche désigne également ce qui dans le corps représenté fait corps et ce qui dans son articulation au décor fait obstacle : le corps désirant
This thesis explores how contemporary art, more specifically video, interrogates the relationship between body and images. A close link binds them together today; video art, native to postmodern time, seems adapted to its exploration. First, influence modalities of the image are developed. The hypotheses are constructed on four sources: psychoanalytical and phenomenological theories, socials realities, artistic productions (both from known artists and from my own practice) and image theories (art history and aesthetic). A succession of conclusions have been deducted from them: today’s human seems to be inhabited by images, these participate to the structuration of perception, compete with recollection and contribute to determine the shapes of mental elaboration. Consequently, the image define significantly the postmodern body. But various relationships to images remain possible: utilization, interaction, experimentation. Then, with the oscillatory potential of video art, the interdependence between body and image is detailed. Part II compares sensible body and depicted body through the fluctuating marks of the referent in video representation – working with the appearing/disappearing, surface/thickness, sense/nonsense pairs – to explore the dreamed, lived body and the relationship to the depicted body. Part III shows the interplay between linking and delinking of the depicted body with the backgrounds – bore by chroma keying, reediting and compositing. This allows to apprehend positioning and articulation, of the body and its depiction, to images. This approach also points out what in the depicted body reveals the sensitive body and what in its articulation to the background resists: the desiring body
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Books on the topic "Video art"

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Rush, Michael. Video art. London: Thames & Hudson, 2007.

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1967-, Weir Kathryn Elizabeth, Chambers Nicholas, and Queensland Art Gallery, eds. Video hits: Art & music video. South Brisbane: Queensland Art Gallery, 2004.

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Conijn, Joost. Joost Conijn: Ijzer & video = Iron & video. Amsterdam: Valiz, 2007.

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Henry, Jenkins, ed. Video Game Art. New York: Assouline Publishing, 2005.

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Long Beach Museum of Art. Art of music video. Long Beach, Calif: Long Beach Museum of Art, 1989.

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Conijn, Joost. Joost Conijn: Ijzer & video = iron and video. Amsterdam: Valiz, 2007.

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Indonesia, Galeri Nasional, ed. Ok. video: Jakarta Video Art Festival 2003. [Jakarta]: Ruangrupa, 2003.

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Lois, Bianchi, and Independent Curators Incorporated, eds. Video transformations. New York: Independent Curators Inc., 1985.

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Whitney Museum of American Art at Equitable Center., ed. Video art: Expanded forms. New York, N.Y. (945 Madison Ave., New York 10021): Whitney Museum of Art, 1988.

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Aḥmadvand, Murtaz̤á. Video-art: Murtaz̤á Aḥmadvand. Tehran [Iran]: Etemad Gallery, 2011.

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Book chapters on the topic "Video art"

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da Veiga, Pedro Alves. "Generative Video Art." In Creating Digitally, 241–66. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-31360-8_9.

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Buckingham, David. "A Commonplace Art? Understanding Amateur Media Production." In Video Cultures, 23–50. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230244696_2.

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Darkin, Christian, Chris James Hewitt, Joost Korngold, Mark Towse, Peter Reynolds, Simon Tyszko, and Jon Bounds. "Video Art, Let’s Dance." In After Effects Most Wanted, 49–82. Berkeley, CA: Apress, 2002. http://dx.doi.org/10.1007/978-1-4302-5149-1_4.

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Lacasa, Pilar. "Art and Video Games." In Learning in Real and Virtual Worlds, 135–58. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137312051_7.

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Saldanha, Mário, Gustavo Sanchez, César Marcon, and Luciano Agostini. "State-of-the-Art Overview." In Versatile Video Coding (VVC), 35–42. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-11640-7_4.

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Santos, Maria Lusitano. "Video-Essay in the Classroom?" In Art and Technology, 77–96. Rotterdam: SensePublishers, 2017. http://dx.doi.org/10.1007/978-94-6300-863-1_5.

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Rea, Peter W., and David K. Irving. "Art Direction." In Producing and Directing the Short Film and Video, 153–70. 5th ed. New York: Routledge, 2015. http://dx.doi.org/10.4324/9781315849065-10.

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Tavinor, Grant. "Art and Aesthetics." In The Routledge Companion to Video Game Studies, 123–30. 2nd ed. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003214977-19.

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Wiegand, Thomas, and Bernd Girod. "State-of-the-Art Video Transmission." In Multi-Frame Motion-Compensated Prediction for Video Transmission, 1–20. Boston, MA: Springer US, 2001. http://dx.doi.org/10.1007/978-1-4615-1487-9_1.

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Josef, Alex, Alex Van Lepp, and Marshal Carper. "The Art of Video Game Revenue." In The Business of Indie Games, 21–36. Boca Raton: CRC Press, 2022. http://dx.doi.org/10.1201/9781003215264-4.

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Conference papers on the topic "Video art"

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COEN, JOEL, and ETHAN COEN. "O Brother, Where Art Thou?" In ACM SIGGRAPH 2001 video review. New York, New York, USA: ACM Press, 2001. http://dx.doi.org/10.1145/945191.945234.

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Parker, J. R. "Games are art: Video games as theatrical performance." In 2013 IEEE International Games Innovation Conference (IGIC). IEEE, 2013. http://dx.doi.org/10.1109/igic.2013.6659148.

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"[Cover art]." In 2010 Fourth Pacific-Rim Symposium on Image and Video Technology (PSIVT). IEEE, 2010. http://dx.doi.org/10.1109/psivt.2010.94.

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Zheng, Ying, and Peng Zhang. "Interactive Video Installation Art Under New Media Art." In The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.018.

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"[Cover art]." In 2008 IEEE Fifth International Conference on Advanced Video and Signal Based Surveillance. IEEE, 2008. http://dx.doi.org/10.1109/avss.2008.80.

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"[Cover art]." In 2009 Sixth IEEE International Conference on Advanced Video and Signal Based Surveillance (AVSS). IEEE, 2009. http://dx.doi.org/10.1109/avss.2009.114.

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"[Cover art]." In 2012 9th IEEE International Conference on Advanced Video and Signal Based Surveillance (AVSS). IEEE, 2012. http://dx.doi.org/10.1109/avss.2012.93.

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Spiridonova, Anna. "RENAISSANCE SCHEMES IN VIDEO ART." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b41/s13.016.

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Heo, Yunsil, and Hyunwoo Bang. "Modern video processor." In ACM SIGGRAPH 2014 Art Gallery. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2601080.2601090.

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Victorio, Aldo, and Teresinha Vilela. "Art, Audiovisual and Design: an experience." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.128.

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This work aims to share part of a research carried out in a public school that brought art, school and university closer together. The research aimed to understand the interests of students in the Final Stages of Youth and Adult Education (EJA) and was carried out at the Municipal Expeditionary Aquino de Araújo School, in Duque de Caxias, state of Rio de Janeiro. The audiovisual production comes from the school's partnership with the Audiovisual Resources Laboratory of the State University of Rio de Janeiro, Campus Duque de Caxias, Faculty of Education of Baixada Fluminense (LABORAV-UERJ/FEBF). Students, collaborators, go from protagonists to directors and editors of their own productions. In this way, we try to enhance the interests of students who are often invisible. The research gave us the opportunity to get to know in more detail various interests of the students who, along the way, converged mainly on the culture of Skate and Hip Hop. At school, not only skateboarding was present in the classroom, but also skateboarding images, on shirt prints, on the covers of some notebooks. In the pre-investigative period of the project, Mauricio Silva had drawn the letters “R” and “C” on a project for a shirt, an activity that we propose, as an art teacher at the school. Then I met Mauricio Silva with his skater friends, exposing the “Ratarius” brand, that “R” that he drew in his shirt project. This meeting took place at the Meeting of Favelas (MOF) which was recorded in Video 1-MoF2014 Cultura e Imagem Fora das Paredes da Escola https://youtu.be/JdmRNjYygMs?t=7. Ana Mae Barbosa (2015) presents the image as a research narrative. Video 1 was a moment in the research, in which image/writing overflowed beyond paper and videos began to be part of the research methodology as well. We rely on Arts Based Research (PBA) with a/r/tography. Prior to any public presentation of Video 1, students and former students, Mauricio Silva, Thiago Marques, Anthony Oliveira and Raphael Santos were invited to watch Video 1 together on LABORAV, resulting in Video 6 (https://youtu.be/b6E94LzTpxY) with their reactions and comments to the event. see -. Afterwards, from this moment on, the other seven videos were produced with their direct collaboration, getting the invitation to watch. And we are celebrating the approval (October/2021) of the Licentiate Course in Cinema and Audiovisual for the Baixada Fluminense Education Faculty Unit of the State University of Rio de Janeiro, the place that made our research possible.
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Reports on the topic "Video art"

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Fernández, Iván Escobar. COMTOG Report: ‘My Memory of Us’ — Boosting Historical Memory Through Implicit Visual Metaphors. European Center for Populism Studies (ECPS), April 2023. http://dx.doi.org/10.55271/rp0037.

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My Memory of Us is a narrative-driven puzzle-adventure video game developed by Juggler Games. The game is set in a fictional version of Poland during World War II and tells the story of a young boy and girl who must navigate through a city that has been divided into two parts: one for Jews and one for non-Jews. The game features hand-drawn art, puzzle-solving, and stealth elements, as well as a unique memory-manipulation mechanic that allows players to change the past to solve puzzles and progress through the story. The game received positive reviews for its story and art. Overall, My Memory of Us is a touching and emotional game that tells a story of friendship, love, and survival during a war.
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Kupfer, Monica E. Perceptive Strokes: Women Artists of Panama. Inter-American Development Bank, March 2013. http://dx.doi.org/10.18235/0006215.

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The IDB Cultural Center is proud to host this exhibit honoring the Republic of Panama, host country of the IDB Annual Meeting, which will take place from March 14¿20, 2013. The exhibition highlights the history of modern and contemporary art by Panamanian women and will include paintings, photographs, sculptures, and video art from the 1920s to the present. The 22 artworks, selected by Panamanian curator Dr. Monica E. Kupfer, reveal the ways in which a varied group of female artists have experienced and represented significant geopolitical events in the nation¿s history. Their interpretations also show the position of women in Panamanian society, and their views of themselves through their own and others¿ eyes. Among the artists are: Susana Arias, Beatrix (Trixie) Briceño, Fabiola Buritica, Coqui Calderón, María Raquel Cochez, Donna Conlon, Isabel De Obaldía, Sandra Eleta, Ana Elena Garuz, Teresa Icaza, Iraida Icaza, Amelia Lyons de Alfaro, Lezlie Milson, Rachelle Mozman, Roser Muntañola de Oduber, Amalia Rossi de Jeanine, Olga Sánchez, Olga Sinclair, Victoria Suescum, Amalia Tapia, Alicia Viteri, and Emily Zhukov.
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Pritychenko, Boris, Stephan Oberstedt, Oscar Cabellos, Ramona Vogt, Roberto Capote, Shin Okumura, and Toshihiko Kawano. Summary Report of the 1st RCM of the CRP on the Updating Fission Yield Data for Applications. IAEA Nuclear Data Section, April 2021. http://dx.doi.org/10.61092/iaea.zrsf-1z0f.

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The First Research Coordination Meeting of the CRP on “Updating Fission Yield Data for Applications” was held by video conference from 31 August to 4 September 2020 with more than 50 international experts from 16 countries attending the meeting. The CRP is devoted to evaluation efforts of cumulative and independent fission yields for incident ener-gies from the thermal point up to 14 MeV on actinide targets. Produced fission yield evalu-ations should include full uncertainty quantification and are expected to combine available experimental data and state-of-art model information. Four working groups were created within the collaboration: 1) Availability of experimental fission product yield data for eval-uations; 2) New fission product yield experimental data; 3) Fission product yield evalua-tion; and 4) Fission product yield validation. Technical discussions and the resulting work plan of the Coordinated Research Programme are summarized in this report. The meeting presentations are available at: https://nds.iaea.org/index-meeting-crp/FissionYields2020/.
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Pritychenko, B., S. Oberstedt, O. Cabellos, R. Vogt, R. Capote, S. Okumura, and T. LKawano. Summary Report of the 1st RCM of the CRP on the Updating Fission Yield Data for Applications. IAEA Nuclear Data Section, April 2021. http://dx.doi.org/10.61092/iaea.qwbr-a6z9.

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The First Research Coordination Meeting of the CRP on “Updating Fission Yield Data for Applications” was held by video conference from 31 August to 4 September 2020 with more than 50 international experts from 16 countries attending the meeting. The CRP is devoted to evaluation efforts of cumulative and independent fission yields for incident energies from the thermal point up to 14 MeV on actinide targets. Produced fission yield evaluations should include full uncertainty quantification and are expected to combine available experimental data and state-of-art model information. Four working groups were created within the collaboration: 1) Availability of experimental fission product yield data for evaluations; 2) New fission product yield experimental data; 3) Fission product yield evaluation; and 4) Fission product yield validation. Technical discussions and the resulting work plan of the Coordinated Research Programme are summarized in this report. The meeting presentations are available at: https://nds.iaea.org/index-meeting-crp/FissionYields2020/.
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Terah, E. I. Practical classes in general chemistry for students of specialties «General Medicine», «Pediatrics», «Dentistry». SIB-Expertise, April 2022. http://dx.doi.org/10.12731/er0556.13042022.

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Videos of 11 practical lessons on general chemistry are presented. The following topics are considered – chemical thermodynamics and kinetics, chemical equilibrium, methods of expressing the concentration of solutions, electrolyte solutions, pH, buffer solutions, hydrolysis, redox pro-cesses. For each topic, the main theoretical provisions are given, as well as a detailed solution of typical calculation problems is given. The total dura-tion of the video lessons is 8 hours 21 minutes.
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Naqvi, Qaim, Patrick Wolff, Brenda Molano-Flores, and Jinelle Sperry. Camera traps are an effective tool for monitoring insect–plant interactions. Engineer Research and Development Center (U.S.), May 2024. http://dx.doi.org/10.21079/11681/48496.

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Insect and pollinator populations are vitally important to the health of ecosystems, food production, and economic stability, but are declining worldwide. New, cheap, and simple monitoring methods are necessary to inform management actions and should be available to researchers around the world. Here, we evaluate the efficacy of a commercially available, close-focus automated camera trap to monitor insect–plant interactions and insect behavior. We compared two video settings—scheduled and motion-activated—to a traditional human observation method. Our results show that camera traps with scheduled video settings detected more insects overall than humans, but relative performance varied by insect order. Scheduled cameras significantly outperformed motion-activated cameras, detecting more insects of all orders and size classes. We conclude that scheduled camera traps are an effective and relatively inexpensive tool for monitoring interactions between plants and insects of all size classes, and their ease of accessibility and set-up allows for the potential of widespread use. The digital format of video also offers the benefits of recording, sharing, and verifying observations.
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Rudyk, Myroslava. COMMUNICATIVE FEATURES OF UKRAINIAN VIDEO BLOGS ON THE EXAMPLE OF YOUTUBE-CHANNELS OF «TORONTO TV», YANINA SOKOLOVA, AND OSTAP DROZDOV. Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11111.

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The article is devoted to the study of the Ukrainian segment of video blogging as one of the most popular types of the functioning of the modern blogosphere. The content and statistics of popular video blogs were studied on the example of YouTube channels of Ukrainian bloggers and famous journalists. Today we are witnessing the rapid development of technologies that help journalists become better, and the creators of media content to work more quickly and ensure the completeness of the information. With the help of Internet communication, new ways of disseminating information have appeared in journalism. Journalists more often create their blogs on various platforms. Blogosphere video content has become very popular among the Ukrainian audience on YouTube because today the video format is the most effective in terms of communication. The YouTube social network partially replaces television, and the variety of thematic content is ably adapted to a wide audience. The paper analyzes Ukrainian blogs managed by journalists, where they publish different content formats. Therefore, the presentation of various examples of video blogs in our work helps to understand the specifics of Ukrainian blogging at its current stage of development. After all, videos of popular people such as Michael Shchur, Yanina Sokolova, Ostap Drozdov demonstrate the peculiarities of Ukrainian popular video content. For the research, we chose those blogs that are currently relevant to Ukrainian YouTube and have their specifics and uniqueness. The main objective of a blogger is to react quickly to the flow of information because the rating of the channel being monetized depends on it. With the help of statistical data, we can conclude that the Ukrainian audience is interested in a wide range of different information. Viewers now value the independent opinion of bloggers and more often listen to it. Every important event is covered by bloggers promptly. And the format in which it is presented depends on the individual style of the author and the concept of his channel. We can conclude that the video content of the modern blogosphere is developing rapidly. This provides the audience with information for different tastes.
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Anderson, Dylan, Crystal Painter, Annika O’Dea, Tyler Hesser, and Katherine Brodie. Rectifying and stabilizing Planet SkySat video collects for bathymetric inversions from space. Engineer Research and Development Center (U.S.), July 2024. http://dx.doi.org/10.21079/11681/48777.

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This Coastal and Hydraulics Engineering Technical Note (CHETN) presents the development of a workflow to process Planet SkySat videos collected from space at the US Army Engineer Research and Development Center (ERDC), Coastal and Hydraulics Laboratory (CHL), Field Research Facility (FRF), in Duck, North Carolina, to derive wave kinematics and perform bathymetric inversions. The document summarizes the nine 30–60 s* satellite video collections, demonstrates the accuracy of an automated rectification and stabilization workflow, and applies a new short-dwell version of a common inversion algorithm (cBathy) to demonstrate the utility of short-dwell videos from space providing an initial out-of-the-box assessment of errors for one of the collections, and recommends future avenues of research for improving bathymetric predictions.
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Bates, C. Richards, Melanie Chocholek, Clive Fox, John Howe, and Neil Jones. Scottish Inshore Fisheries Integrated Data System (SIFIDS): Work package (3) final report development of a novel, automated mechanism for the collection of scallop stock data. Edited by Mark James and Hannah Ladd-Jones. Marine Alliance for Science and Technology for Scotland (MASTS), 2019. http://dx.doi.org/10.15664/10023.23449.

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[Extract from Executive Summary] This project, aimed at the development of a novel, automated mechanism for the collection of scallop stock data was a sub-part of the Scottish Inshore Fisheries Integrated Data Systems (SIFIDS) project. The project reviewed the state-of-the-art remote sensing (geophysical and camera-based) technologies available from industry and compared these to inexpensive, off-the -shelf equipment. Sea trials were conducted on scallop dredge sites and also hand-dived scallop sites. Data was analysed manually, and tests conducted with automated processing methods. It was concluded that geophysical acoustic technologies cannot presently detect individual scallop but the remote sensing technologies can be used for broad scale habitat mapping of scallop harvest areas. Further, the techniques allow for monitoring these areas in terms of scallop dredging impact. Camera (video and still) imagery is effective for scallop count and provide data that compares favourably with diver-based ground truth information for recording scallop density. Deployment of cameras is possible through inexpensive drop-down camera frames which it is recommended be deployed on a wide area basis for further trials. In addition, implementation of a ‘citizen science’ approach to wide area recording is suggested to increase the stock assessment across the widest possible variety of seafloor types around Scotland. Armed with such data a full, statistical analysis could be completed and data used with automated processing routines for future long-term monitoring of stock.
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Osypova, Nataliia V., and Volodimir I. Tatochenko. Improving the learning environment for future mathematics teachers with the use application of the dynamic mathematics system GeoGebra AR. [б. в.], July 2021. http://dx.doi.org/10.31812/123456789/4628.

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Immersive technologies and, in particular, augmented reality (AR) are rapidly changing the sphere of education, especially in the field of science, technology, engineering, arts and mathematics. High- quality professional training of a future mathematics teacher who is able to meet the challenges that permeate all sides, the realities of the globalizing information society, presupposes reliance on a highly effective learning environment. The purpose of the research is to transform the traditional educational environment for training future mathematics teachers with the use of the GeoGebra AR dynamic mathematics system, the introduction of cloud technologies into the educational process. The educational potential of GeoGebra AR in the system of professional training of future mathematics teachers is analyzed in the paper. Effective and practical tools for teaching mathematics based on GeoGebra AR using interactive models and videos for mixed and distance learning of students are provided. The advantages of the GeoGebra AR dynamic mathematics system are highlighted. The use of new technologies for the creation of didactic innovative resources that improve the process of teaching and learning mathematics is presented on the example of an educational and methodological task, the purpose of which is to create didactic material on the topic “Sections of polyhedra”. While solving it, future teachers of mathematics should develop the following constituent elements: video materials; test tasks for self-control; dynamic models of sections of polyhedra; video instructions for constructing sections of polyhedra and for solving basic problems in the GeoGebra AR system. The article highlights the main characteristics of the proposed educational environment for training future mathematics teachers using the GeoGebra AR dynamic mathematics system: interdisciplinarity, polyprofessionalism, dynamism, multicomponent.
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