Journal articles on the topic 'Videoplay'

It is controversial whether there is a correlation between serum gastrin concentrations and the density of G cells in the antral or duodenal mucosa. In this study, endoscopically obtained antral and duodenal biopsies were stained immunocytochemically for gastrin and the G cells quantitated using an MOP Videoplan computer image analysis system. Studies were performed in 20 patients with acid-peptic disorders (gastric ulcer, n=5; duodenal ulcer, n=10; reflux esophagitis, n=4; and nonulcer dyspepsia, n=1). Correlations between antral and duodenal G cell densities, and basal- and food-stimulated serum gastrin concentrations within the normal range (less than 100 mg/L) – but not in those with elevated gastrin concentrations – support the postulate that alterations in G cell function are important in patients with acid-peptic disorders.

Standard therapeutic approaches to acid peptic disorders have dealt with neutralizing or inhibiting aggressive factors and/or bolstering defensive factors. Gastric and duodenal mucosal biopsies were examined from 90 patients with various acid peptic disorders, as follows: reflux esophagitis (n=24), gastric ulcer (n=13), duodenal ulcer (n=47) and nonulcer dyspepsia (n=6). Seven patients with minimal dyspeptic symptoms and an endoscopically and histologically normal stomach and duodenum served as controls. Immunoperoxidase staining for gastrin-producing G cells, somatostatin-producing D cells and serotonin-producing EC cells was carried out on fundic, antral and duodenal biopsies, and quantitated using a Zeiss MOP videoplan. No significant effects secondary to treatment with antacid, ranitidine or cimetidine were observed on endocrine cell densities and ratios. Biopsies obtained on different occasions over time indicated that in patients on enprostil (a synthetic E2prostaglandin), there was a trend towards increasing cell counts, suggesting that the serum gastrin-lowering effect of this drug may result from inhibition of gastrin release. Thus, H2-receptor antagonists and antacids do not alter gastric or duodenal mucosal G, D or EC cells in patients with acid peptic disorders.

Gastric and duodenal biopsies from 90 patients with various acid peptic disorders - reflux esophagitis (n=24), gastric ulcer (n=13), duodenal ulcer (n=47) and nonulcer dyspepsia (n=6) - were examined. Seven patients with minimal dyspeptic symptoms and an endoscopically and histologically normal stomach and duodenum served as controls. Immunoperoxidase staining for gastrin-producing G cells, somatostatin-producing D cells and serotonin-producing EC cells was carried out on fundic, antral and duodenal biopsies, and was quantified using a Zeiss MOP Videoplan using the peroxidase-antiperoxidase technique of Sternberger. In the gastric antrum, a G:D:EC cell ratio of approximately 1.6:1:1 was observed. In the duodenum the corresponding ratio was 1:1:2.4. No significant differences were observed within any of the major diagnostic categories. Patient age, sex, duration of symptoms, smoking habits, alcohol consumption and nonsteroidal anti-inflammatory drug use had no effect on endocrine cell densities. Reduced G cell density in the descending duodenum was observed in the presence of mild duodenitis in four patients. In four patients with evidence of antral intestinal metaplastic changes, a significant increase in duodenal G cell densities was found. These results suggest that a change in the number of G, D or EC cells does not play a primary role in the pathophysiology of acid peptic disorders in the majority of patients.

This article aims to analyze YouTube as a da'wah media for Muslim preachers in the disruption era. The use of Youtube as a medium of preaching significantly impacted developing increasingly competitive digital da'wah content. The digitalization of Islamic da'wah on Youtube has made the Dai (preacher) more proactive in making updates and adjustments. Dai's proficiency in the mastery of dakwah media via Youtube is one of the determining factors in digitizing da'wah. Therefore, Dai, who uses Youtube as a medium of preaching in the digital era, must always carry out innovation. Dai can create material videos by adding stimulating effects such as animated visualization, adding unique descriptions for important material points, and religious music back sounds. Dai also take advantage of image editing applications such as CorelDRAW, Photoshop, and video applications such as Filmora, VideoPad, or Adobe Premiere in the material creation process. Innovation is the process of making a da'wah video is very important so that the da'wah material can touch the community, especially the millennial generation.

O projeto de extensão Grupo de Estudos em Geociências (GEOS) da Universidade Federal de Pelotas (UFPEL) tem o intuito de promover a divulgação geocientífica na zona sul do estado do Rio Grande do Sul. No ano de 2018 e início de 2019 foram realizadas oficinas e exposições nos municípios de Pelotas e Arroio Grande. Contudo, devido à pandemia de COVID-19, essa forma de atuação precisou ser alterada. Para dar continuidade aos temas propostos, o projeto buscou atividades de inovação elaborando vídeos didáticos destinados a alunos do 3° ao 7° ano do ensino fundamental. Este trabalho tem como objetivo relatar o processo criativo e resultados dos vídeos “Ártico e Antártica - Entre Ursos Polares e Pinguins”, “Geologia Ambiental” e “Mudanças Climáticas”, os quais abordam temas como o derretimento das calotas polares, o aquecimento global, a importância do solo e as consequências do consumo desenfreado. Para a produção dos vídeos buscou-se relacionar conceitos científicos com o cotidiano dos alunos, por meio de analogias com animações populares, personagens conhecidos e a utilização de uma linguagem simples, adequada à faixa etária proposta. Os vídeos didáticos foram elaborados por meio da técnica de stop-motion utilizando o editor de vídeo Videopad e o resultado compartilhado na plataforma YouTube. A utilização do vídeo como uma ferramenta pedagógica é inovadora e essencial, visto que rompe diversas barreiras territoriais e, no caso abordado, torna o ensino das geociências mais abrangente e acessível ao público-alvo.

<p>Penelitian ini bertujuan untuk mengembangkan Portal “ Channel Pembelajaran Sains” sebagai media pembelajaran <em>online</em> berbasis video yang dapat diakses secara global dan untuk meningkatkan ketersediaan sumber belajar <em>online </em>bagi para guru dan peserta didik berupa Portal” Channel Pembelajaran Sains” yang berisi berbagai video pembelajaran sains.</p><p> Metode yang akan digunakan dalam penelitian ini adalah <em>Research and Development </em>(R&amp;D) menggunakan ADDIE Model. Melalui siklus ADDIE Model, yaitu : (1)<em>Analysis</em>, (2)<em>Design</em>, (3)<em>Development</em>, (4)<em>Implementation</em> dan (5) <em>Evaluation </em>akan dikembangkan Portal “Channel Pembelajaran Sains”, sebuah Portal yang didesain sebagai media pembelajaran berbasis video yang dapat diakses melalui internet.</p> Secara garis besar, penelitian ini terdiri dari sembilan tahap kegiatan. Tahap pertama, analisis materi pembelajaran sains yang sesuai untuk ditampilkan dengan menggunakan media video. Tahap kedua, pengambilan gambar dengan menggunakan <em>Digital Video Shooting</em>. Tahap ketiga, proses <em>editing </em>video menggunakan program aplikasi <em>VideoPad Video Editor </em>. Tahap keempat, mengunggah video ke internet dengan membuat sebuah channel di Portal berbagi video <em>Youtube</em> yang kemudian diberi nama Portal “Channel Pembelajaran Sains”. Tahap kelima, proses validasi media ke berbagai ahli (ahli komunikasi, ahli materi dan ahli media). Tahap keenam, revisi produk berdasarkan masukan para ahli. Tahap ketujuh, uji coba terbatas di sejumlah sekolah untuk memperoleh masukan dari guru dan peserta didik. Tahap kedelapan, revisi berdasarkan masukan dari guru dan peserta didik. Tahap kesembilan, uji coba produk akhir.

Rescuing data from inaccessible or damaged storage media for the purpose of preserving the digital data for the long term is one of the dimensions of digital archaeology. With the current pace of technological development, any system can become obsolete in a matter of years and hence the data stored in a specific storage media might not be accessible anymore due to the unavailability of the system to access the media. In order to preserve digital records residing in such storage media, it is necessary to extract the data stored in those media by some means.One early storage medium for home computers in the 1980s was audio tape. The first home computer systems allowed the use of standard cassette players to record and replay data. Audio cassettes are more durable than old home computers when properly stored. Devices playing this medium (i.e. tape recorders) can be found in working condition or can be repaired, as they are usually made out of standard components. By re-engineering the format of the waveform and the file formats, the data on such media can then be extracted from a digitised audio stream and migrated to a non-obsolete format.In this paper we present a case study on extracting the data stored on an audio tape by an early home computer system, namely the Philips Videopac+ G7400. The original data formats were re-engineered and an application was written to support the migration of the data stored on tapes without using the original system. This eliminates the necessity of keeping an obsolete system alive for enabling access to the data on the storage media meant for this system. Two different methods to interpret the data and eliminate possible errors in the tape were implemented and evaluated on original tapes, which were recorded 20 years ago. Results show that with some error correction methods, parts of the tapes are still readable even without the original system. It also implies that it is easier to build solutions while original systems are still available in a working condition.

La Realidad Virtual (RV) no es nada nuevo. De hecho, lo que comúnmente se entiende como tal existe como proyecto tecnológico desde mucho antes de 1989, que es el año en que Jaron Lanier acuñó el conocido término. Incluso, anteriormente, hay al menos dos referentes imprescindibles en tecnología digital: el predecesor de los cascos de realidad virtual, inventado por Ivan Sutherland en 1968, que ya proyectaba imágenes en 3D en dos pantallas delante de los ojos del usuario, y la creación de gráficos interactivos a tiempo real a partir de 1975 por parte de Myron Krueger en su Videoplace, algo que luego él mismo llamaría Realidad Artificial al teorizar sobre ello.

AUSZUGDas Ziel dieser Untersuchung ist es, um den Wortschatz zum Thema ,,Beruf’’ zu erstellen. Die Erstellungsuntersuchung wirdin dieser Untersuchung angewendet. Der Prozess der Digitalisierung des Wortschatzes zum Thema ,,Beruf’’ mit der Software Videopad besteht aus der Erklärung der Phasen von Plomps Theorie. Darunter sind: (1) die Beobachtungsphase, (2) die Designsphase, (3) die Realisierungs-oder Konstruktionsphase und (4) die Revisionsphase.Die Daten und Datenquelle dieser Untersuchung sinddie Wörter zum Thema ,,Beruf” die aus dem Buch ,,Studio D A2”, verschiedenen Deutschwörterbüchern, und anderen Bücher stammen. Das Ergebnis der Digitalisierungdes Wortschatzes zum Thema ,,Beruf’’ ist der Wortschatz des Berufs mit den Bildern, einem Verben und einem Beispielsatz.Die Bewertungder Expertin über die Qualität des Ergebnisses derDigitalisierung des Wortschatzes zum Thema ,,Beruf’’ in Form eines Videos ist sehr gut.Schlüsswörter: Die Digitalisierung, Wortschatz, Beruf, Video.

From the researches carried out in literature it appears how gaming is a behaviour in continuous evolution and expansion (Mauceri & Di Censi, 2020) and is widespread in the entire population, particularly among teenagers. The present paper is the result of a multi-professional and inter-sectorial research carried out and shared with operators of the health service Azienda Sanitaria Universitaria Friuli Centrale (ASUFC), teachers of the Regional School Office (Uff. VI), the Provincial Student Council (CPS) of Udine and with a professional educator. One of the targets of this research was to analyse the feelings and beliefs of players regarding the use of videogames and this was done in March 2021 through a questionnaire. 596 students of upper secondary schools of Udine territory joined this survey and to reach the target four videoplayer profiles have been outlined taking into account the play time: the occasional player (N = 61; 10.2%) who uses the videogames for maximum 30 minutes per day, the habitual player – mild (N=57; 9.6%) between 30 minutes and 1 hour, the habitual player – moderate (N=250, 41.9%) between 1 and 4 hours and the severe player (N=71, 11.9%) between 4 and more than 6 hours. The analysis of the replies demonstrates how all statements (21), following the chi-squared test, have a statistically important difference with respect to the profiles, except for two. It appears how the severe players run more often into potential experiences of risk of addiction or trouble, and they prefer to play instead of going out with friends, sometime also stopping friendship relations and feeling a higher desire to going on playing at the end of the session, also forgoing some hours of sleep. The research group, taking into consideration the spreading of the behaviour of severe players (11.9%), would deem useful to plan and carry out future interventions aimed at encouraging the technological health since the first classes of upper secondary schools, in order to allow the students the acquainted use of technologies and gaming activities and to prevent the relative risks coming from the massive and improper use of these tools and actions.

Find your black holes and white walls, know them … it is the only way you will be able to dismantle them and draw your lines of flight.—Deleuze and Guattari, A Thousand Plateaus Defined by originator David Belle as “an art to help you pass any obstacle”, the practice of “parkour” or “free running” constitutes both a mode of movement and a new way of interacting with the urban environment. Parkour was created by Belle (partly in collaboration with his childhood friend Sébastien Foucan) in France in the late 1980s. As seen in the following short video “Rush Hour”, a trailer for BBC One featuring Belle, parkour practitioners (known as “traceurs”), leap, spring, and vault from objects in the urban milieu that are intended to limit movement (walls, curbs, railings, fences) or that unintentionally hamper passage (lampposts, street signs, benches) through the space. “Rush Hour” was among the first media representations of parkour, and it had a significant role in introducing and popularizing the practice in Britain. Parkour has subsequently been widely disseminated via news reports, Nike and Toyota ads, the documentaries Jump London (2003) and Jump Britain (2005), and feature films, including Luc Besson’s Yamakasi – Les Samouraïs des Temps Modernes (2001) and Banlieu 13 (2004; just released in the U.S. as District B13), starring David Belle as Leto and Cyril Raffaelli as Damien. Sébastien Foucan will appear in the upcoming James Bond film Casino Royale as Mollaka, a terrorist who is chased (parkour-style) and then killed by Bond. (Foucan can also be seen in the film’s trailer, currently available at both SonyPictures.com and AOL.com; the film itself is scheduled for release in November 2006). Madonna’s current “Confessions” tour features an extended parkour sequence (accompanying the song “Jump”), albeit one limited to the confines of a scaffold erected over the stage. Perhaps most important in the rapid development of parkour into a world-wide youth movement, however, has been the proliferation of parkour websites featuring amateur videos, photos, tutorials, and blogs. The word “parkour” is derived from the French “parcours” (as the sport is known in France): a line, course, circuit, road, way or route, and the verb “parcourir”: to travel through, to run over or through, to traverse. As a physical discipline, parkour might be said to have a “poetics” — first, in general, in the Aristotelian sense of constructing through its various techniques (tekhnē) the drama of each parkour event. Secondly, one can consider parkour following Aristotle’s model of four-cause analysis as regards its specific materials (the body and the city), form or “vocabulary” of movements (drawn primarily from gymnastics, the martial arts, and modern dance), genre (as against, say, gymnastics), and purpose, including its effects upon its audience and the traceurs themselves. The existing literature on parkour (at this point, mostly news reports or websites) tends to emphasize the elements of form or movement, such as parkour’s various climbs, leaps, vaults, and drops, and the question of genre, particularly the ongoing, heated disputes among traceurs as to what is or is not true parkour. By contrast, my argument in this essay will focus principally on the materials and purpose of parkour: on the nature of the city and the body as they relate to parkour, and on the ways in which parkour can be seen to “remap” urban space and to demonstrate a resistance to its disciplinary functions, particularly as manifest in the urban street “grid.” The institution of the street “grid” (or variations upon it such as Haussmann’s Parisian star-configuration) facilitates both the intelligibility — in terms of both navigation and surveillance — and control of space in the city. It situates people in urban spaces in determinate ways and channels the flow of pedestrian and vehicular traffic. The “grid” thus carries a number of normalizing and disciplinary functions, creating in effect what the philosophers Gilles Deleuze and Félix Guattari refer to as a “striation” of urban space. This striation constitutes “a process of capture of flows of all kinds, populations, commodities or commerce, money or capital, etc.” within a field of determinate spatial coordinates (Deleuze and Guattari 386). It establishes “fixed paths in well-defined directions, which restrict speed, regulate circulation, relativize movement, and measure in detail the relative movements of subjects and objects” (Deleuze and Guattari 386). Many of these aspects of striation can be seen in the ways urban space is depicted in the “Rush Hour” video: in the gridlocked traffic, the flashing tail-lights, the “STOP” light and “WAIT” sign, the sign indicating the proper directional flow of traffic, and the grim, bundled-up pedestrians trudging home en masse along the congested streets. Against these images of conformity, regulation, and confinement, the video presents the parkour ethos of originality, “reach,” escape, and freedom. Belle’s (shirtless) aerial traversal of the urban space between his office and his flat — a swift, improvisational flow across the open rooftops (and the voids between them), off walls, and finally down the sloping roof into his apartment window — cuts across the striated space of the streets below and positions him, for that time, beyond the constrictions of the social realm and its “concrete” manifestations. Though parkour necessarily involves obstacles that must be “overcome,” the goal of parkour is to do this as smoothly and efficiently as possible, or, in the language of its practitioners, for the movement to be “fluid like water.” The experience of parkour might, then, be said to transform the urban landscape into “smooth space,” in Deleuze and Guattari’s sense of “a field without conduits or channels” (371), and thus into a space of uninhibited movement, at least in certain ideal moments. Parkour seems to trace a path of desire (even if the desire is simply to avoid the crowds and get home in time to watch BBC One) that moves along a Deleuzean “line of flight,” a potential avenue of escape from the forces of striation and repression. Here the body is propelled over or through (most parkour movement actually takes place at ground level) the strata of urban space, perhaps with the hope that, as Deleuze and Guattari suggest, “one will bolster oneself directly on a line of flight enabling one to blow apart strata, cut roots, and make new connections” (15). In the process, parkour becomes “an art of displacement,” appropriating urban space in ways that temporarily disrupt their controlling logics and even imply the possibility of a smooth space of desire. One might see parkour as an overcoming of social space (and its various constrictions and inhibitions of desire, its “stop” and “wait” signs) through the interplay of body and material barriers. The body becomes an instrument of freedom. This, again, is graphically conveyed in “Rush Hour” through the opening scene in which Belle strips off his business suit and through the subsequent repeated contrasts of his limber, revealed body to the rigid, swathed figures of the pedestrians below. In part an effect of the various camera angles from which it is shot, there is also an element of the “heroic” in this depiction of the body. This aspect of the representation appears to be knowingly acknowledged in the video’s opening sequence. The first frame is a close-up, tightly focused on a model of a ninja-like figure with a Japanese sword who first appears to be contemplating a building (with an out-of-focus Belle in the background contemplating it from the opposite direction), but then, in the next, full shot, is revealed to be scaling it — in the manner of superheroes and King Kong. The model remains in the frame as Belle undresses (inevitably evoking images of Clark Kent stripping down to his Superman costume) and, in the final shot of that sequence, the figure mirrors Belle’s as he climbs through the window and ascends the building wall outside. In the next sequence, Belle executes a breath-taking handstand on a guard railing on the edge of the roof with the panorama of the city behind him, his upper body spanning the space from the street to the edge of the city skyline, his lower body set against the darkening sky. Through the practice of parkour, the relation between body and space is made dynamic, two reality principles in concert, interacting amid a suspension of the social strata. One might even say that the urban space is re-embodied — its rigid strata effectively “liquified.” In Jump London, the traceur Jerome Ben Aoues speaks of a Zen-like “harmony between you and the obstacle,” an idealization of what is sometimes described as a state of “flow,” a seemingly effortless immersion in an activity with a concomitant loss of self-consciousness. It suggests a different way of knowing the city, a knowledge of experience as opposed to abstract knowledge: parkour is, Jaclyn Law argues, “about curiosity and seeing possibilities — looking at a lamppost or bus shelter as an extension of the sidewalk” (np.). “You just have to look,” Sébastien Foucan insists in Jump London, “you just have to think like children….” Parkour effectively remaps urban space, creating a parallel, “ludic” city, a city of movement and free play within and against the city of obstacles and inhibitions. It reminds us that, in the words of the philosopher of urban space Henri Lefebvre, “the space of play has coexisted and still coexists with spaces of exchange and circulation, political space and cultural space” (172). Parkour tells us that in order to enter this space of play, we only need to make the leap. References Deleuze, Gilles and Félix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Trans. Brian Massumi. Minneapolis: University of Minnesota Press, 1987. Jump London (2003). Mike Christie, director. Mike Smith, producer. Featuring Jerome Ben Aoues, Sébastien Foucan, and Johann Vigroux. Law, Jaclyn. “PK and Fly.” This Magazine May/June 2005 http://www.thismagazine.ca/issues/2005/05/>. Lefebvre, Henri. “Perspective or Prospective?” Writings on Cities. Trans. Eleonore Kofman and Elizabeth Lebas. Oxford: Blackwell, 1996. Rush Hour (2002). BBC One promotion trailer. Tom Carty, dir. Edel Erickson, pro. Produced by BBC Broadcast. See also: Wikipedia on parkour: http://www.en.wikipedia.org/wiki/Parkour> Parkour Worldwide Association: http://www.pawa.fr/> Parkour Net (multilingual): http://parkour.net/> NYParkour: http://www.nyparkour.com/> PKLondon.com: http://www.pklondon.com/> Nike’s “The Angry Chicken” (featuring Sébastien Foucan): http://video.google.com/videoplay? docid=-6571575392378784144&q=nike+chicken> There is an extensive collection of parkour videos available at YouTube A rehearsal clip featuring Sébastien Foucan coaching the dancers for Madonna’s Confessions tour can be seen at YouTube Citation reference for this article MLA Style Geyh, Paula. "Urban Free Flow: A Poetics of Parkour." M/C Journal 9.3 (2006). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0607/06-geyh.php>. APA Style Geyh, P. (Jul. 2006) "Urban Free Flow: A Poetics of Parkour," M/C Journal, 9(3). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0607/06-geyh.php>.