Journal articles: '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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Shedko, I. I. "Video Game Art Styles." Art & Culture Studies, no. 4 (December 2021): 382–95. http://dx.doi.org/10.51678/2226-0072-2021-4-382-395.

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The article examines the graphic styles that have arisen in the video game industry due to the technical features and development of this media. These styles are widely used and starting to go beyond the industry into the field of contemporary art. Despite the fact that pixel art is mainly used in the creation of video games, it has already become an independent form of visual style. Contemporary artists such as the Russian digital artist and designer under the pseudonym Uno Morales and the artist Natalya Struchkova turn to the pixel style when creating their works. Like the pixel art, voxel graphics has moved into the category of the game visual style, which employs an impressive community of digital artists. Low рoly graphics have modified from the main graphics of three-dimensional games, which look technically imperfect, into the category of an artistic style that forms a recognizable, attractive and unique geometric aesthetics of the image. We can trace the transformation of video game graphics, which have arisen as a result of technical constraints, into separate art styles: pixel art, voxel art, low рoly style, the minimalist style of the first classic video games. These styles are gradually becoming an independent visual unit that does not depend on the video game product as a whole.

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Hanhardt, John G. "Video Art: Expanded Forms." Leonardo 23, no. 4 (1990): 437. http://dx.doi.org/10.2307/1575348.

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Kamerling, Leonard. "Isuma—Inuit Video Art." Oral History Review 37, no. 2 (July 1, 2010): 278–80. http://dx.doi.org/10.1093/ohr/ohq065.

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Mariátegui, José-Carlos. "Peruvian Video/Electronic Art." Leonardo 35, no. 4 (August 2002): 355–63. http://dx.doi.org/10.1162/002409402760181114.

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Li, Pi. "Chinese Contemporary Video Art." Third Text 23, no. 3 (May 2009): 303–7. http://dx.doi.org/10.1080/09528820902954937.

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Duan, Feifei, and Xiawei Lu. "Analysis of College Art Teaching System under the Background of Video Big Data Technology." Mathematical Problems in Engineering 2022 (June 23, 2022): 1–10. http://dx.doi.org/10.1155/2022/2720959.

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Art teaching needs not only learning art knowledge but also a lot of practice and aesthetic appreciation. However, traditional teaching methods cannot provide students with a large number of relevant learning materials, which is not conducive to improving students’ classroom enthusiasm. This paper presents the design and implementation of college art teaching system based on video big data technology and combines video recommendation algorithm with the Django teaching video website. The system analyzes the preference needs according to the behavior data of students watching videos and recommends videos for students. At the same time, the system can also evaluate the quality of the video content according to the behavior of students watching videos, reverse classify the video, and then optimize the recommendation results. The video recommendation algorithm model based on user behavior is better than the traditional collaborative filtering recommendation algorithm and fully connected neural network collaborative filtering algorithm. It can reduce the range of users who need similarity calculation and improve the accuracy of recommendation algorithm. The experimental results show that the fully connected neural network collaborative filtering algorithm has good recommendation performance and stability, can reduce the computational complexity, and can improve the recommendation accuracy. The teaching technology integrated through the Internet can greatly improve students’ enthusiasm for art teaching.

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Staruseva-Persheeva, Alexandra Dmitrievna. "Video Art: “A White Cube” or “A Black Box”?" Journal of Flm Arts and Film Studies 6, no. 4 (December 15, 2014): 114–23. http://dx.doi.org/10.17816/vgik64114-123.

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Video art is a hybrid, combining features of both contemporary art as well as screen arts. It brings together different ways of perception working both in a manner of a movie which transfers the viewer into virtual daydreaming (Matthew Barney, Steeve McQueen), and in a manner of a painting or sculpture which gives a viewer some intense corporal experience (Tony Oursler). Accordingly, there are two ways of presenting video art: in a white cube and a black box. In 1970-s video art used to be presented in white cubes of contemporary art galleries where they nailed the screens right to the wall. In a white cube video comes into the viewers sight together with other items in display, therefore a show-piece comes into contact with other ones in a spectators minds eye. Moreover, a white cube gives visitors an opportunity to be in charge of their time of viewing, which implies, that the white cube perception appears rather chaotic and the final cut of a video in the spectators mind becomes unpredictable, what is characteristic of video. In 2000-s when both video and film technologies got replaced by the digital one, all the moving pictures started to resemble one another. A well-lit room of a white cube was not appropriate for high definition videos, whereas a black box is usually associated with a cinema hall and consequently a video presented in such a cinematic manner makes a viewer unconsciously expect to see a cinematic piece of art. Video today is an indispensable figurant of any significant exhibition of contemporary art and it is defined as an artistic (not cinematic) media. Traditionally video is being exhibited in a white cube of a gallery; however, there is now a distinct tendency to present video art in a black box, that is in a cinematic way. As a result its getting harder and harder to distinguish video art from experimental cinema. Nowadays the very strategy of presentation of video may help this media to retain identity or to lose it.

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Vuković, Vuk. "The Institutionalization of Video Art at the Museum of Modern Art." Journal of Curatorial Studies 12, no. 2 (October 1, 2023): 144–73. http://dx.doi.org/10.1386/jcs_00086_1.

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Analysing the history of video art poses challenges due to the complex environments from which video emerged. However, some of its conceptual origins can be traced through art institutions that pioneered the integration of video art into museums. By examining key projects and exhibitions at the Museum of Modern Art, I argue that the museum’s first study grant obtained from the Rockefeller Foundation not only expanded the exhibition and collection of video work, but also laid the foundation for its institutionalization, which in turn exerted decisive effects on the subsequent history of video art.

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Collomosse, J. P., and P. M. Hall. "Video Paintbox: The fine art of video painting." Computers & Graphics 29, no. 6 (December 2005): 862–70. http://dx.doi.org/10.1016/j.cag.2005.09.003.

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Marqués Ibáñez, Ana. "Mutable Artistic Narratives: Video Art versus Glitch Art." Research in Arts and Education 2019, no. 2 (June 1, 2019): 1172–92. http://dx.doi.org/10.54916/rae.119181.

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KARTSEVA, EKATERINA A. "SCREEN FORMS AT BIENNIALS OF CONTEMPORARY ART." Art and Science of Television 16, no. 3 (2020): 11–30. http://dx.doi.org/10.30628/1994-9529-2020-16.3-11-30.

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Video today is a popular tool for artists of postmodern, poststructuralist, post-conceptual orientations. These practices have not yet developed their economic model and have spread mainly through biennials and festivals of contemporary art, as the main form of their comprehension and display. At the same time, “video art”, “video installations”, “video sculptures”, “video performances”, “films” at the exhibitions are far from an exhaustive list of strategies, stating a cinematic turn in contemporary art, where videos are considered among the basic tools of a contemporary artist and curator. It gets increasingly difficult to imagine exhibitions that resonate with the public and critics without video. From an avant-garde countercultural practice, video has become the mainstream of contemporary exhibition projects and is presented in exhibitions in many variations. The article analyzes the strategies for including video in the expositions of national pavilions at the 58th Venice Biennale, among which the production of video content in the genre of documentary filming, investigative journalism, artistic mystification, and interactive installation can be distinguished. Artists both create their own content and use footage content from the Internet. The main awards of the Biennale are won by large—scale projects that dialogize fine art with cinema and theater. For the implementation of artistic ideas curators of biennial projects attract professional directors, screenwriters, sound and light specialists. The biennials of contemporary art, by analogy with the term screen culture, can be attributed to the large format in contemporary art. At them, video goes beyond the small screens with the help of full-screen interactive installations, projections on buildings, films timed to exhibitions are broadcast on YouTube and Netflix. As the coronavirus pandemic has shown, the search for new tactics using screen forms is sometimes the only way out for a large exhibition practice in a situation where it is impossible to conduct international projects and comply with new regulations. The Riga Biennale of Contemporary Art, Steirischer herbst in Graz, followed this path. The exhibition is moving closer to film production. New optical and bodily models are being formed. The contemplative essence of art is being replaced by new ways of human perception of information, space and time, built on the convergence of communication means—video, music, dance, the interpenetration of objective and virtual realities.

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Bernaschina, Diego. "The New Incorporation of Video Art and Video Poetry during the COVID-19 Pandemic: A Matter of Myth or Existing Reality." Cultural Arts Research and Development 2, no. 2 (November 1, 2022): 62–70. http://dx.doi.org/10.55121/card.v2i2.51.

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

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Kulp, Cynthia Stabenow. "Arthritis: Best use of the Hands. Video I, Osteoarthritis. Video 11, Rheumatoid Arthritis. Video Education Specialists, Phoenix, Arizona." Arthritis Care & Research 1, no. 3 (September 1988): 185. http://dx.doi.org/10.1002/art.1790010312.

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Cooke, Jacqueline. "Cataloguing artists’ videos." Art Libraries Journal 34, no. 3 (2009): 40–45. http://dx.doi.org/10.1017/s0307472200016011.

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Artists’ videos present some challenges to cataloguers. How to select the source of information, how to describe them in ways which will help library users to find them, and particularly how to facilitate subject access are matters addressed in this article. With reference to the artist’s video collections at Goldsmiths, the author considers interpretations of the rules for cataloguing art documentation and moving image material and discusses how they can be applied to video works and art documentation from contemporary art practices.

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Chris, Cynthia. "Video Art: Dead or Alive?" Afterimage 24, no. 3 (November 1996): 4–5. http://dx.doi.org/10.1525/aft.1996.24.3.4.

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Miller, Alicia. "Keeping Track of Video Art." Afterimage 29, no. 1 (July 2001): 16. http://dx.doi.org/10.1525/aft.2001.29.1.16.

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Sfez, Géraldine. "Video Art : an Unfinished History." Critique d’art, no. 50 (May 25, 2018): 121–23. http://dx.doi.org/10.4000/critiquedart.29342.

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Meyerding, Marie. "Performing Gender in Video Art." Third Text 35, no. 5 (September 3, 2021): 554–68. http://dx.doi.org/10.1080/09528822.2021.2014771.

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Machado, Arlindo. "Video Art: The Brazilian Adventure." Leonardo 29, no. 3 (1996): 225. http://dx.doi.org/10.2307/1576251.

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Nadaner, Dan. "Teaching Perception through Video Art." Art Education 61, no. 1 (January 2008): 19–24. http://dx.doi.org/10.1080/00043125.2008.11518983.

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WALKER, JOHN A. "VIDEO ART, A GUIDED TOUR." Art Book 12, no. 4 (November 2005): 43. http://dx.doi.org/10.1111/j.1467-8357.2005.00608.x.

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Kohn, Robert E. "The Motorization of Video Art." Afterimage 37, no. 6 (May 1, 2010): 13–16. http://dx.doi.org/10.1525/aft.2010.37.6.13.

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Murphy, Samantha. "Can video games be art?" New Scientist 207, no. 2778 (September 2010): 46–47. http://dx.doi.org/10.1016/s0262-4079(10)62287-7.

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Marshall, Stuart. "Video: From Art to Independence." Screen 26, no. 2 (March 1, 1985): 66–72. http://dx.doi.org/10.1093/screen/26.2.66.

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Nicholas, Lydia. "The art of video games." New Scientist 239, no. 3196 (September 2018): 46. http://dx.doi.org/10.1016/s0262-4079(18)31720-2.

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Varnava, Christiana. "The art of video games." Nature Electronics 1, no. 10 (October 2018): 522. http://dx.doi.org/10.1038/s41928-018-0151-8.

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Maravić, Manojko. "Relacije umetnosti i video igara / Relations of Art and Video Games." AM Journal of Art and Media Studies, no. 1 (January 15, 2012): 93–104. http://dx.doi.org/10.25038/am.v0i1.12.

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When discussing the art of video games, three different contexts need to be considered: the 'high' art (video games and the art); commercial video games (video games as the art) and the fan art. Video games are a legitimate artistic medium subject to modifications and recontextualisations in the process of creating a specific experience of the player/user/audience and political action by referring to particular social problems. They represent a high technological medium that increases, with practically each new commercial game, the aesthetic potential of audio-visualperformances and includes more complex narrations and characters/avatars. A number of artists take part in their creation: designers, composers and actors. Video games are a medium through which the fans of commercial games are trying to secure their position in the contemporary technologised culture.

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Wang, Yuting, Jinpeng Wang, Bin Chen, Ziyun Zeng, and Shu-Tao Xia. "Contrastive Masked Autoencoders for Self-Supervised Video Hashing." Proceedings of the AAAI Conference on Artificial Intelligence 37, no. 3 (June 26, 2023): 2733–41. http://dx.doi.org/10.1609/aaai.v37i3.25373.

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Self-Supervised Video Hashing (SSVH) models learn to generate short binary representations for videos without ground-truth supervision, facilitating large-scale video retrieval efficiency and attracting increasing research attention. The success of SSVH lies in the understanding of video content and the ability to capture the semantic relation among unlabeled videos. Typically, state-of-the-art SSVH methods consider these two points in a two-stage training pipeline, where they firstly train an auxiliary network by instance-wise mask-and-predict tasks and secondly train a hashing model to preserve the pseudo-neighborhood structure transferred from the auxiliary network. This consecutive training strategy is inflexible and also unnecessary. In this paper, we propose a simple yet effective one-stage SSVH method called ConMH, which incorporates video semantic information and video similarity relationship understanding in a single stage. To capture video semantic information for better hashing learning, we adopt an encoder-decoder structure to reconstruct the video from its temporal-masked frames. Particularly, we find that a higher masking ratio helps video understanding. Besides, we fully exploit the similarity relationship between videos by maximizing agreement between two augmented views of a video, which contributes to more discriminative and robust hash codes. Extensive experiments on three large-scale video datasets (i.e., FCVID, ActivityNet and YFCC) indicate that ConMH achieves state-of-the-art results. Code is available at https://github.com/huangmozhi9527/ConMH.

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Ball, Steven. "Video Void, Australian Video Art, Matthew Perkins (ed.) (2014)." Moving Image Review & Art Journal (MIRAJ) 5, no. 1 (December 1, 2016): 266–74. http://dx.doi.org/10.1386/miraj.5.1-2.266_5.

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Langer, Brian. "Video as art and the Australian international video festival." Continuum 8, no. 1 (January 1994): 259–66. http://dx.doi.org/10.1080/10304319409365645.

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Deng, Xinxia, and Shan Wu. "Application and Exploration of Video Art in New Media of Design." BCP Education & Psychology 7 (November 7, 2022): 168–73. http://dx.doi.org/10.54691/bcpep.v7i.2631.

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As a kind of visual culture, video art occupies a very important position in our life. In this paper, the relationship between video art and product design is systematically explored, studied and summarized, trying to establish a theoretical framework for understanding the importance of video art to product design, and find the application method to meet the needs of modern art progress. The design content of video art has become the value symbol of a social form, and the complementary relationship between video art and product design will become the mainstream trend in the future. This paper frames the basic theory of video art, expounds the emergence and connotation of video art, as well as its start and development, as the theoretical research basis of this paper. Secondly, the application method of video art in product design is discussed, and the application method of video art in product design is concluded by introducing Boolean operation theory. Through the application of IMAGE ART in product design, the important role of image in product design is analyzed. As a perfect combination of image art applied in product design, it is hoped that it can be realized in the future.

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Agarla, Mirko, Luigi Celona, and Raimondo Schettini. "An Efficient Method for No-Reference Video Quality Assessment." Journal of Imaging 7, no. 3 (March 13, 2021): 55. http://dx.doi.org/10.3390/jimaging7030055.

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Methods for No-Reference Video Quality Assessment (NR-VQA) of consumer-produced video content are largely investigated due to the spread of databases containing videos affected by natural distortions. In this work, we design an effective and efficient method for NR-VQA. The proposed method exploits a novel sampling module capable of selecting a predetermined number of frames from the whole video sequence on which to base the quality assessment. It encodes both the quality attributes and semantic content of video frames using two lightweight Convolutional Neural Networks (CNNs). Then, it estimates the quality score of the entire video using a Support Vector Regressor (SVR). We compare the proposed method against several relevant state-of-the-art methods using four benchmark databases containing user generated videos (CVD2014, KoNViD-1k, LIVE-Qualcomm, and LIVE-VQC). The results show that the proposed method at a substantially lower computational cost predicts subjective video quality in line with the state of the art methods on individual databases and generalizes better than existing methods in cross-database setup.

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Anggraini, Sazkia Noor. "Aesthetic Transformation of Video4Change Project Through Postmodernism Studies." International Journal of Creative and Arts Studies 1, no. 1 (April 17, 2017): 44. http://dx.doi.org/10.24821/ijcas.v1i1.1571.

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Related research on community videos commonly limited in the social domain. This may happen because making video community is not classified as work of art, but rather as a tool to convey messages on community organizing method. Video4Change (v4c) project here consist different organizations in four countries; Indonesia, India, America and Israel. The review of videos conducted in textual and visual ethnography. This method used to specify all the things captured in the sense, the visual, the voice (audio) and the symbol on each video. Video as a medium in the postmodernism era considered as an illusion and simulation, now has more authority. Video build new structures and functions that transformed from mere aesthetic imagery into practical media with particular meanings. The video made by common people has been taking control of society to understanding the images by interpret it. This research attempts to trace and shift the study of community video from the perspective of art, vice versa from what have done before. However, the video as a tool has particular rules and approach to effectively deliver ‘text’ or message in visual language. This study expected to be a reference in a cultural context that comes from the artistic perspective. The analysis will shift the meaning of aesthetic perspective that could be transforming into practical solution-based. Beyond that, this study is able to see how the perspective transforms as the co modification of art in society changes.

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Meng, Yuan. "A Study of The Aesthetic and Cultural Characteristics of Video Art in Mainland China in The Digital Age." Journal of Education, Humanities and Social Sciences 13 (May 11, 2023): 433–38. http://dx.doi.org/10.54097/ehss.v13i.8216.

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The digital age has brought sweeping changes to China, and the creation of different types of online media has, to a certain extent, promoted the development of video art in China. However, the digital age is also a double-edged sword, and new technologies and the general online environment have brought enormous challenges to the development of video art. In order to promote the sustainable and stable development of video art in China, this paper examines the aesthetic and cultural characteristics of video art in mainland China in the digital age. After a brief analysis of the development of video art in mainland China and the aesthetic shift and aesthetic occurrence mechanism of video art in the digital age, the paper analyses the aesthetic characteristics of video art in mainland China in terms of interactivity, entertainment, realism and plasticity, and then analyses the cultural characteristics of video art in mainland China in terms of its sense of depthlessness, messiness, postmodernity and the subject of work creation.

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Sumaiya Shaikh, Et al. "Video Forgery Detection: A Comprehensive Study of Inter and Intra Frame Forgery With Comparison of State-Of-Art." International Journal on Recent and Innovation Trends in Computing and Communication 11, no. 9 (November 5, 2023): 1487–97. http://dx.doi.org/10.17762/ijritcc.v11i9.9130.

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Availability of sophisticated and low-cost smart phones, digital cameras, camcorders, surveillance CCTV cameras are extensively used to create videos in our daily life. The prevalence of video sharing techniques presently available in the market are: YouTube, Facebook, Instagram, snapchat and many more are in utilization to share the information related to videos. Besides this, there are many software which can edit the content of video: Window Movie Maker, Video Editor, Adobe Photoshop etc., with this available software anyone can edit the video content which is called as “Forgery” if edited content is harmful. Usually, videos play a vital role in terms of proof in crime scene. The Victim is judged by the proof submitted by the lawyer to the court. Many such cases have evidenced that the video being submitted as proof is been forged. Checking the authentication of the video is most important before submitting as proof. There has been a rapid development in deep learning techniques which have created deepfake videos where faces are replaced with other faces which strongly made a belief of saying “Seeing is no longer believing”. The available software which can morph the faces are FakeApp, FaceSwap etc., the increased technology really made the Authentication of proofs very doubtful and un-trusty which are not accepted as proof without proper validation of the video. The survey gives the methods that are capable of accurately computing the videos and analyses to detect different kinds of forgeries. It has revealed that most of the existing methods are relying on number of tampered frames. The proposed techniques are with compression, double compression codec videos where research is being carried out from 2016 to present. This paper gives the comprehensive study of techniques, algorithms and applications designed and developed to detect forgery in videos.

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Li, Jialu, Aishwarya Padmakumar, Gaurav Sukhatme, and Mohit Bansal. "VLN-Video: Utilizing Driving Videos for Outdoor Vision-and-Language Navigation." Proceedings of the AAAI Conference on Artificial Intelligence 38, no. 17 (March 24, 2024): 18517–26. http://dx.doi.org/10.1609/aaai.v38i17.29813.

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Outdoor Vision-and-Language Navigation (VLN) requires an agent to navigate through realistic 3D outdoor environments based on natural language instructions. The performance of existing VLN methods is limited by insufficient diversity in navigation environments and limited training data. To address these issues, we propose VLN-Video, which utilizes the diverse outdoor environments present in driving videos in multiple cities in the U.S. augmented with automatically generated navigation instructions and actions to improve outdoor VLN performance. VLN-Video combines the best of intuitive classical approaches and modern deep learning techniques, using template infilling to generate grounded non-repetitive navigation instructions, combined with an image rotation similarity based navigation action predictor to obtain VLN style data from driving videos for pretraining deep learning VLN models. We pre-train the model on the Touchdown dataset and our video-augmented dataset created from driving videos with three proxy tasks: Masked Language Modeling, Instruction and Trajectory Matching, and Next Action Prediction, so as to learn temporally-aware and visually-aligned instruction representations. The learned instruction representation is adapted to the state-of-the-art navigation agent when fine-tuning on the Touchdown dataset. Empirical results demonstrate that VLN-Video significantly outperforms previous state-of-the-art models by 2.1% in task completion rate, achieving a new state-of-the-art on the Touchdown dataset.

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Hidayah, Nurul, Sukardjo M, and Robinson Situmorang. "Development of Nail Art Tutorial Video on Manicure Pedicure Courses." International Journal of Psychosocial Rehabilitation 24, no. 02 (February 12, 2020): 2365–73. http://dx.doi.org/10.37200/ijpr/v24i2/pr200533.

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Orrghen, Anna. "Art criticism and the newness of video art: the reception of video art in the Swedish daily press, 1985–1991." Journal of Aesthetics & Culture 12, no. 1 (January 1, 2020): 1729539. http://dx.doi.org/10.1080/20004214.2020.1729539.

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McKie, Annamarie, Jill Trumper, and Nicholas Turner. "Diverse practices: video art and libraries." Art Libraries Journal 29, no. 1 (2004): 35–41. http://dx.doi.org/10.1017/s030747220001347x.

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This article looks at the many problems that art libraries experience in developing video art collections. It considers a range of issues, from why it is often difficult to acquire video art, to reasons why many of the respected art library collections do not actively collect such material. Most of the findings arise from a workshop called Diverse practices, which was held at Kent Institute of Art and Design in February 2003.

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Birringer, Johannes. "Video Art / Performance: A Border Theory." Performing Arts Journal 13, no. 3 (September 1991): 54. http://dx.doi.org/10.2307/3245541.

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Journal articles on the topic 'Video art'

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