Добірка наукової літератури з теми "Participatory camera"
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся зі списками актуальних статей, книг, дисертацій, тез та інших наукових джерел на тему "Participatory camera".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Статті в журналах з теми "Participatory camera"
1
Haragonics, Sára. "The Camera as a Social Catalyst." Acta Universitatis Sapientiae, Film and Media Studies 23, no. 1 (May 1, 2023): 62–85. http://dx.doi.org/10.2478/ausfm-2023-0004.
Повний текст джерелаАнотація:
Abstract The methodology, practical aspects and social embeddedness of participatory filmmaking and specifically the catalyst method developed by the author are presented in this study through workshop processes in Hungary. While the catalyst method is based on participatory video methodology, it uses film primarily for interpersonal communication, and its main goal is the use of the camera as a group cohesion and intergroup catalyst. The method addresses the representation and self-representation of participants along social fault lines through filmmaking, it is based on the principle of dialogue and aims at community building and participation. The method is hopefully applicable in other countries, as the democratising potential of participatory filmmaking for at least partially redressing existing inequalities can be utilized in other locations as well.1
2
Calacci, Dan, Jeffrey J. Shen, and Alex Pentland. "The Cop In Your Neighbor's Doorbell: Amazon Ring and the Spread of Participatory Mass Surveillance." Proceedings of the ACM on Human-Computer Interaction 6, CSCW2 (November 7, 2022): 1–47. http://dx.doi.org/10.1145/3555125.
Повний текст джерелаАнотація:
Consumer surveillance products such as 'smart' doorbell cameras are an already-pervasive phenomenon in the U.S. These devices are marketed as personal and community security tools that allow users to answer their front door remotely, record "suspicious activity" captured by their cameras, and share reports with neighbors. The widespread use of doorbell cameras specifically, however, has created an opaque, wide-reaching surveillance network used by thousands of law enforcement agencies nationwide. The full breadth of this network and how users operate on such platforms is largely unknown. Amazon Ring, one of the largest manufacturers of smart doorbells, offers a companion social networking app to their physical doorbells called Ring Neighbors that allows camera owners to share video and text posts with other camera owners that live nearby. In this paper, we use data collected from public posts on Neighbors to create the first comprehensive map and analysis of smart doorbell camera use across the continental U.S. We use spatial regression methods to estimate the county-level predictors of Neighbors app usage nationally. We then use Los Angeles, one of the most active areas of Ring usage in the country, as a case study to investigate how different neighborhoods in a racially heterogeneous city use a platform like Ring. Using a structured topic analysis and experimental survey design, we show that users actively frame video subjects as criminal and suspicious, that the race of a neighborhood has a significant impact on posting rates, and provide some evidence that Neighbors may be used as a racial gatekeeping tool, particularly by white neighborhoods that border non-white areas in Los Angeles.
3
Müllner, András. "Displacements. Contexts for a Participatory Media Project." Acta Universitatis Sapientiae, Film and Media Studies 23, no. 1 (May 1, 2023): 86–109. http://dx.doi.org/10.2478/ausfm-2023-0005.
Повний текст джерелаАнотація:
Abstract This paper presents a participatory film intervention focused on young people, which was held within the framework of a grant coordinated by the Minor Media/Culture Research Centre and took place in the form of a summer camp in 2021. After revisiting some historical examples and definitions of participatory film, the author focuses on the concept of displacement as used in film theory and psychology, which he attempts to redefine and thereby reverse its negative connotations. The author analyses the catalyst method, one of the various forms of implementing participatory video as a visual research method, which was the one used in the research described here. The participatory film methodology based on the camera-as-catalyst is meant to foster inter-group collaboration through camera use in order to achieve a free performance and interplay of identities and ultimately to strengthen social cohesion. Beyond the emancipatory intent, the diachronic and synchronic case studies are also linked by the fact that most of the projects were also collaborations with young people, as was the case in the Minor Media summer camp. In the final section, the author analyses the films made by the young people in terms of their relation to contemporary popular culture and the performance of adolescent identities defined by liminality.1
4
Baligh Jahromi, A., G. Sohn, J. Jung, K. Park, and D. Recchia. "PARTICIPATORY IMAGE-BASED MODELS’ ALIGNMENT FOR RECONSTRUCTING A LARGE-SCALE INDOOR MAPPING." ISPRS Annals of Photogrammetry, Remote Sensing and Spatial Information Sciences V-4-2020 (August 3, 2020): 71–78. http://dx.doi.org/10.5194/isprs-annals-v-4-2020-71-2020.
Повний текст джерелаАнотація:
Abstract. In this paper, we introduced a recently developed image-based model alignment technique for 3D reconstruction of large-scale indoor corridors. The proposed participatory model alignment technique enables crowd source single image-based modeling since it allows various participants to incorporate their images taken from different cameras for large-scale indoor mapping. This technique is robust against changes of camera orientation and prevents miss-association of a newly generated 3D model to the previously integrated models. To investigate the possibility of aligning two individual 3D models, their respective corridor topological graphs must match, and they need to geometrically transform into the same object space. Here 3D affine transformation is applied, and the transformation parameters are estimated through corresponding vertices of both 3D models. Having integrated two models in the same 3D space, they will be back projected into the image space for evaluation using Direct Linear Transformation. Note that the proposed method performs layout model matching in image space and considers information including layout topology and geometry as well as image information to address model alignment. The advantages of using layout information in the proposed alignment technique are twofold. First, a metric constraint is imposed to insure topological model consistency and balance 3D models scale issues. Second, it will reduce alignment ambiguity related to indoor corridor scenes, where the scene is enriched with multiple structural elements including various corridors junctions. To evaluate the performance of the proposed method, we have performed the experiments on a data set collected from Ross building corridors at York University. This dataset includes single images captured by a handheld wide-angle camera. The obtained results present the ability of the proposed method in alignment of single image-based 3D models while producing limited geometric errors.
5
Bandauko, Elmond, and Godwin Arku. "The Power of a Camera: Fieldwork Experiences From Using Participatory Photovoice." International Journal of Qualitative Methods 22 (February 1, 2023): 160940692311544. http://dx.doi.org/10.1177/16094069231154437.
Повний текст джерелаАнотація:
Conducting primary data collection can be a fulfilling and interesting adventure producing significant learning experiences particularly for early career researchers. However, fieldwork can be marred with complex challenges and frustrations, especially if conducted in dynamic and politically sensitive environments and with highly vulnerable urban populations. This paper contributes to and advances academic scholarship on fieldwork experiences in the social sciences. Drawing from the first author’s doctoral fieldwork experiences, we share our reflections on the application of the photovoice method in researching street traders in Harare, Zimbabwe. We engage with different issues that researchers could consider in the application of photovoice, especially with dynamic and marginalized urban populations like street traders. These include dealing with and managing complex and multiple ethical dilemmas, dealing with the content-quality conundrum, exploring ‘missing’ photographs and handling ‘leftover’ photographs, handling conflictual council-street trader relations, building rapport, and ensuring participant commitment, joint interpretation, and co-construction of meaning and methodological benefits of using photovoice with street traders. To the best of our knowledge, this is the first paper that reflects on the use of photovoice with street traders in Global South cities, and we hope that the insights presented here will be useful for future urban researchers working on similar topics.
6
Apriyanto, Fajar, Irwandi Irwandi, and Ade Aulia Rahman. "TRANSPARENT AFGHAN CAMERA: KARYA FOTOGRAFI PERFORMATIF DAN PARTISIPATORIS." spectā: Journal of Photography, Arts, and Media 2, no. 1 (February 16, 2019): 13–24. http://dx.doi.org/10.24821/specta.v2i1.2464.
Повний текст джерелаАнотація:
AbstrakKemajuan teknologi fotografi digital dewasa ini bagi kalangan fotografer kreatif merupakan tantangan, namun di sisi lain juga merupakan sesuatu yang menjemukan. Foto-foto yang dihasilkan oleh para seniman fotografi masa kini tidak lagi terfokus pada persoalan reproduksi realitas secara harfiah, tetapi lebih pada penggunaan medium fotografi sebagai sarana penyuaraan ide. Muncul karya-karya yang mencerminkan eksplorasi lebih jauh melalui media fotografi, terutama di sisi sifat-sifat interaktif dalam fotografi. Dapat diduga hal ini terjadi karena ‘terlalu’ instannya proses fotografi digital sehingga menghilangkan selera para seniman untuk mencipta dengan kamera digital. Afghan camera merupakan salah satu jalan keluar bagi fotografer untuk keluar dari kejenuhan tersebut. Dalam penelitian ini afghan camera dihadirkan kembali dalam wujud karya performatif. Metode yang digunakan dalam penelitian ini adalah (1) studi pustaka; (2) rekonstruksi dan perancangan; (3) percobaan; dan (4) perwujudan. Berdasarkan hasil penelitian yang didapatkan, perancangan afghan camera memerlukan ketelitian dan perencanaan yang matang. Dengan demikian, transparent afghan camera dapat tetap berfungsi sebagai kamera serta dapat menjadi karya fotografi ruang interaktif dan performatif.Kata kunci: afghan camera, fotografi, partisipatoris AbstractTransparent Afghan Camera: A Performative and Participatory Photography. Nowadays the technology development of camera has been a challenge for creative photographers, but on the other side it has also become dull. Photographs created by photographers have not only focused on the reproduction of reality literally, but more to the use of photography as a medium in vocalizing ideas. Therefore, photographs reflecting a further exploration with photography, particularly on their interactivity, have emerged. It is assumed as because of the very instant process of digital photography, so it eliminates the passion of the artist to create photograph using a digital camera. Afghan camera is one of solutions for photographers to leave the boredom. In this research, afghan camera is represented in a performative way. The methods used were as follows; (1) literary study, (2) planning and reconstruction; (3) experimentation; and (4) materialization. The result showed that the planning to reconstruct the afghan camera had to be done carefully and thoroughly. The planning ranged from the material to the accuracy in the execution.Keywords: afghan camera, participatory, photography
7
Tickle, Sarah. "Engaging young people through photovoice in coastal resorts." Qualitative Research Journal 20, no. 1 (November 1, 2019): 103–15. http://dx.doi.org/10.1108/qrj-06-2019-0051.
Повний текст джерелаАнотація:
Purpose The purpose of this paper is to examine and reflect upon the value of using a camera with young people in the research process. In particular, the paper discusses the opportunities that a camera can bring when researching young people’s lives, subsequently encouraging the use of photovoice with young people in ethnographic research. Design/methodology/approach The paper examines how photovoice can be a beneficial method of data collection when researching young people’s lives. By adopting a qualitative participatory approach, and employing photovoice as one of the main methods, rich and meaningful data were gathered that traditional qualitative methods alone would not have captured. Findings Photovoice was used alongside traditional methods to explore how young people experienced and perceived policing, safety and security in a coastal resort. Using a camera, captured rich images which alongside the narratives given by the young people, provided profound and detailed accounts. Originality/value Using innovative participatory qualitative research methods with young people and adapting to the research setting allowed for deep and meaningful explorations of young people’s lives to be gathered. Carefully considering the use of appropriate methods of data collection and selecting methods that are “fun” and “interesting” empowered young people and provided the researcher with an insight into their social worlds.
8
Yuan, Yuan, Bin Liu, Sai Li, and He-Ping Tan. "Light-field-camera imaging simulation of participatory media using Monte Carlo method." International Journal of Heat and Mass Transfer 102 (November 2016): 518–27. http://dx.doi.org/10.1016/j.ijheatmasstransfer.2016.06.053.
Повний текст джерела
9
Pedersen, Peter Ole, and Jan Løhmann Stephensen. "V-v-Vertov R-r-Re-Made." Acta Universitatis Sapientiae, Film and Media Studies 9, no. 1 (December 1, 2014): 77–106. http://dx.doi.org/10.1515/ausfm-2015-0004.
Повний текст джерелаАнотація:
Abstract The seminal work of pioneering avant-garde filmmaker Dziga Vertov, The Man with the Movie Camera (Chevolek s kino-apparatom, 1929) has given rise to a number of discussions about the documentary film genre and new digital media. By way of comparison with American artist Perry Bard’s online movie project entitled Man With a Movie Camera: The Global Remake (2007), this article investigates the historical perspective of this visionary depiction of reality and its impact on the heralded participatory culture of contemporary digital media, which can be traced back to Russian Constructivism. Through critical analysis of the relation between Vertov’s manifest declarations about the film medium and his resulting cinematic vision, Bard’s project and the work of her chief theoretical inspiration Lev Manovich are examined in the perspective of ‘remake culture,’ participatory authorship and the development a documentary film language. In addition to this, possible trajectories from Vertov and his contemporary Constructivists to recent theories of ‘new materialism’ and the notion of Man/Machine-co-operation is discussed in length.
10
Zhang, Biao, Chen Wang, Yudong Liu, Chuanlong Xu, and Qi Qi. "Reconstruction of 3D Temperature Profile of Radiative Participatory Flame Based on Digital Refocusing Technique of Light Field Camera." International Journal of Photoenergy 2019 (December 3, 2019): 1–13. http://dx.doi.org/10.1155/2019/6342808.
Повний текст джерелаАнотація:
Accurate and reliable measurements of the 3D flame temperature profile are highly desirable to achieve in-depth understanding of the combustion and pollutant formation processes. In this paper, a measurement method for reconstruction of a 3D flame temperature profile was proposed by using a light field camera. It combines the convolution imaging model and radiative transfer equation and takes into account the characteristics of emission, absorption, and scattering of a semitransparent flame. According to the point spread function characteristics of the imaging system, the number and positions of the refocus planes were set by comprehensive consideration of the reconstruction accuracy and efficiency. The feasibility of the present method was proved by numerical simulation and an experiment of a candle flame. This method achieves the reconstruction of a 3D asymmetric flame profile through a single exposure of a single camera, which overcomes the problem of complexity of a multicamera system and the time delay of a conventional scanning camera system.
Дисертації з теми "Participatory camera"
1
De, Coninck Cécile. "Enjeux politiques et esthétiques de l'anthropologie visuelle. Programmes et débats du Comité du Film Ethnographique (1947-1962)." Electronic Thesis or Diss., Université de Lille (2022-....), 2024. https://pepite-depot.univ-lille.fr/ToutIDP/EDSHS/2024/2024ULILH048.pdf.
Повний текст джерелаАнотація:
Cette étude propose de retracer l'histoire du Comité du Film Ethnographique (CFE) dont les fondements furent établis à Paris en 1947 lors du Premier Congrès du Film Ethnologique et de géographie humaine. Les enjeux politiques et esthétiques de cette institution, créée officiellement en 1952, seront analysés à travers l'examen des documents d'archives relatifs aux catalogues de films, à leur réalisation et à leur réception ainsi qu'aux comptes rendus des débats-projections lors des séminaires et des festivals internationaux organisés par ses membres de 1953 à 1962. En proposant un tour d'horizon historiographique des différentes acceptions du concept d'anthropologie visuelle, nous examinerons dans quelle mesure le CFE fait figure de pionnier dans ce domaine en nous fondant sur les films qu'il produit et programme durant cette période. Si Jean Rouch en est la principale cheville ouvrière, il n'en est pas le seul artisan. Aussi cette étude se propose-t-elle de réinscrire ses films dans l'ensemble de la production des années trente jusqu'au début des années soixante en apportant un éclairage sur des films ethnographiques moins connus, notamment ceux de Luc de Heusch qui inventa le concept de caméra participante comme moyen de révéler les pouvoirs heuristiques du médium tout en contrecarrant sur le plan éthique, les stéréotypes des films de voyage « exotisants » et de propagande coloniale. Ainsi le CFE se situait-il à l'avant-garde d'une culture visuelle promouvant la recherche d'une alliance entre les ethnographes et les cinéastes pour créer une nouvelle forme de partage du sensible entre filmeur et filmé contribuant, dans le même temps, à faire bouger les lignes des fondements épistémologiques de la discipline ethnographique ainsi que celles des usages du médium-filmThis study proposes to retrace the history of the Ethnographic Film Committee (CFE) whose foundations were established in Paris in 1947 during the First Congress of Ethnological Film and Human Geography. The political and aesthetic issues of this institution, officially created in 1952, will be analyzed through the examination of archival documents relating to film catalogues, the making of films and their reception, reports of debates and screenings at seminars and international festivals organized by its members from 1955 to 1962. By offering a historiographical overview of the different meanings of the concept of visual anthropology, we will examine to what extent the CFE is a pioneer in this field based on the films it produced and programmed during this period. While Jean Rouch is the main driving force, he is not the only craftsman. This study therefore aims to re-inscribe his films in the overall production from 1930 to 1962 by shedding light on lesser-known ethnographic films, notably those of Luc de Heusch, who invented the concept of the participatory camera as a means of revealing the heuristic powers of the medium while ethically counteracting the stereotypes of “exotic” travel films and colonial propaganda. The CFE was thus at the forefront of a visual culture promoting the search for an alliance between ethnographers and filmmakers to create a new form of sharing the sensible between the filmmaker and the filmed, contributing at the same time to shifting the lines of the epistemological foundations of the ethnographic discipline as well as those of the uses of the film medium
2
Wolowic, Jennifer. "Research tools or collaborative toys? cameras and participatory research with youth." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/1601.
Повний текст джерелаАнотація:
My participatory photography and video project with a First Nations teen drop in center in Northern British Columbia has revealed the benefits of viewing cameras as toys through which community-based research projects can actively engage the world rather than as tools for authoritative observers. The interactive play between the instant feed back of digital cameras placed in youths’ hands creates relationships that allow for the exploration of delicate subjects and intimate moments captured on video. The display of meanings constructed through visual images reveal powerful possibilities for visual research methodologies used in collaborative research.
3
Panwar, Anurag. "Determining the Effectiveness of Soil Treatment on Plant Stress using Smart-phone Cameras." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6346.
Повний текст джерелаАнотація:
Plants are vital to the health of our biosphere, and effectively sustaining their growth is fundamental to the existence of life on this planet. A critical aspect, which decides the sustainability of plant growth is the quality of soil. All other things being fixed, the quality of soil greatly impacts the plant stress, which in turn impacts overall health. Although plant stress manifests in many ways, one of the clearest indicators are colors of the leaves. In this thesis, we conducted an experimental study in a greenhouse for detecting plant stress caused by nutrient deficienceies in soil using smartphone cameras, coupled with image processing and machine learning algorithms. The greenhouse experiment was conducted by growing two plant species; willows (Salix Pentandra) and poplars (Populus deltoides x nigra, DN34), in two treatments. These treatments included: unamended tailings (collected from a lead mine tailings pond and characterized by nutrient deficiency), and biosolids amended tailings. Biosolids are very rich in nutrients and were added to the tailings in one of the two treatments to supply plants with nutrients. Subsequently, we captured various images of plant leaves grown in both soils. Each image taken was pre-processed via filteration to remove associated noise, and was segmented into pixels to facilitate scalability of analysis. Subsequently, we designed random forests based algorithms to detect the stress of leaves as indicated by their coloring. In a dataset consisting of 34 leaves, our technique yields classifications with a high degree of prediction, recall and F1 score. Our work in this thesis, while restricted to two types of plants and soils, can be generalized. We see applications in the emerging area of urban farming in terms of empowering citizens with tools and technologies for enhancing quality of farming practices.
Книги з теми "Participatory camera"
1
Asghar, Syed Mehmood. Camel jockeys of Rahimyar Khan: Findings of a participatory research on the life and situation of child camel jockeys. Peshawar: Save the Children Sweden, 2009.
Знайти повний текст джерела
2
Aguayo, Angela J. Documentary Resistance. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190676216.001.0001.
Повний текст джерелаАнотація:
The potential of documentary moving images to foster democratic exchange has been percolating within media production culture for the last century, and now, with mobile cameras at our fingertips and broadcasts circulating through unpredictable social networks, the documentary impulse is coming into its own as a political force of social change. The exploding reach and power of audio and video are multiplying documentary modes of communication. Once considered an outsider media practice, documentary is finding mass appeal in the allure of moving images, collecting participatory audiences that create meaningful challenges to the social order. Documentary is adept at collecting frames of human experience, challenging those insights, and turning these stories into public knowledge that is palpable for audiences. Generating pathways of exchange between unlikely interlocutors, collective identification forged with documentary discourse constitutes a mode of political agency that is directing energy toward acting in the world. Reflecting experiences of life unfolding before the camera, documentary representations help order social relationships that deepen our public connections and generate collective roots. As digital culture creates new pathways through which information can flow, the connections generated from social change documentary constitute an emerging public commons. Considering the deep ideological divisions that are fracturing U.S. democracy, it is of critical significance to understand how communities negotiate power and difference by way of an expanding documentary commons. Investment in the force of documentary resistance helps cultivate an understanding of political life from the margins, where documentary production practices are a form of survival.
3
Wittek, Susanne, Peter H. Feindt, Wolfgang Gessenharter, Jutta Hoppe, Eberhard K. Seifert, and Heinz Spilker, eds. Nachhaltigkeitsindikatoren und Partizipation. Hamburg University Press, 2001. http://dx.doi.org/10.15460/hup.45.
Повний текст джерелаАнотація:
The workshop documentation was developed as part of the inter-university project "Participatory development of indicators of sustainability. A contribution to a process-oriented sustainability strategy ". It was carried out at the beginning of March 2000 to April 2001 by scientists from the University of Hamburg, the Hamburg University of Economics and Politics (Hochschule für Wirtschaft und Politik, HWP), the University of the Federal Armed Forces Hamburg (Universität der Bundeswehr) and the Wuppertal Institute for Climate, Environment and Energy (Wuppertal Institut für Klima, Umwelt, Energie). The workshop documented here took place on March 23, 2001 at the University of the German Armed Forces. The project team presented its work results to an audience from science and practice for discussion. Participants included representatives from companies, government departments at state and municipal level, educational institutions, consulting companies, statistical offices and associations, universities and research institutions from social, engineering and natural sciences disciplines. They came from Hamburg, Schleswig-Holstein, Lower Saxony and Baden-Württemberg. The documentation contains the lectures of four project participants, in which central results of the project are presented, and corrections by external scientists and experts. A summary of the discussion follows.
4
Clooney, Francis X. Hindu and Catholic, Priest and Scholar. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9780567710277.
Повний текст джерелаАнотація:
This autobiography traces Francis X. Clooney’s intellectual and spiritual journey from middle-class American Catholicism to a lifelong study of Hinduism. It explains how he came to fashion comparative theology as a way of learning interreligiously that is boldly intellectual and deeply personal and practical, lived out in intersections of his roles as theologian and scholar of Hinduism, as professor and Catholic priest, and over the tumultuous decades from the 1960s until now, in his role as Parkman Professor of Divinity, Harvard University. Clooney sheds fresh and realistic light on the idea and ideal of scholar-practitioner, since his wide learning, Christian and Hindu, is grounded in his Catholic and Jesuit commitments, as well as in a commensurate learning with respect to several Hindu traditions that are most accessible to scholars willing to learn empathetically and in a participatory manner. What Clooney has learnt and written must be understood in terms of a love of Christ deeply informed by a Hindu instinct for loving God without reserve. A fundamental spiritual disposition – intuitions of God present everywhere - has energized his work over his long career, love giving direction and body to his professional academic work.
5
Andreas, Joel. Disenfranchised. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190052607.001.0001.
Повний текст джерелаАнотація:
Disenfranchised recounts the tumultuous events that have shaped and reshaped factory politics in China since the 1949 Revolution. The book develops a theoretical framework consisting of two dimensions—industrial citizenship and autonomy—to explain changing authority relations in workplaces and uses interviews with workers and managers to provide a shop-floor perspective. Under the work unit system, in place from the 1950s to the 1980s, lifetime job tenure and participatory institutions gave workers a strong form of industrial citizenship, but constraints on autonomous collective action made the system more paternalistic than democratic. Called “masters of the factory,” workers were pressed to participate actively in self-managing teams and employee congresses but only under the all-encompassing control of the factory party committee. Concerned that party cadres were becoming a “bureaucratic class,” Mao experimented with means to mobilize criticism from below, even inciting—during the Cultural Revolution—a worker insurgency that overthrew factory party committees. Unwilling to allow workers to establish permanent autonomous organizations, however, Mao never came up with institutionalized means of making factory leaders accountable to their subordinates. The final chapters recount the process of industrial restructuring, which has transformed work units into profit-oriented enterprises, eliminating industrial citizenship and reducing workers to hired hands dependent on precarious employment and subject to highly coercive discipline. The book closes with an overview of parallel developments around the globe, chronicling the rise and fall of an era of industrial citizenship.
6
Wells, Christi Jay. Between Beats. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197559277.001.0001.
Повний текст джерелаАнотація:
Between Beats: The Jazz Tradition and Black Vernacular Dance explores the complex intersections between jazz music and popular dance over the last hundred-plus years. It aims to show how popular entertainment and cultures of social dancing were crucial to jazz music’s formation and development, but it also investigates the processes through which jazz music came to earn a reputation as a “legitimate” art form better suited for still, seated listening. Through the concept of “choreographies of listening,” the book explores amateur and professional jazz dancers’ relationships with jazz music and musicians as jazz’s soundscapes and choreoscapes were forged through close contact and mutual creative exchange. The book’s later chapters also critically unpack the aesthetic and political negotiations through which jazz music supposedly distanced itself from dancing bodies. As musicians and critics sought to secure institutional space for jazz within America’s body-averse academic and high-art cultures, an intentional severance from the dancing body proved crucial to jazz’s re-positioning as a form of autonomous, elite art. Fusing little-discussed material from diverse historical and contemporary sources with the author’s own years of experience as a social jazz dancer, this book seeks to advance participatory dance and embodied practice as central topics of analysis in jazz studies. As it explores the fascinating history of jazz as popular dance music, this book also exposes how American anxieties about bodies and a broad cultural privileging of the cerebral over the corporeal have shaped efforts to “elevate” expressive forms such as jazz to elite status.
Частини книг з теми "Participatory camera"
1
Marx, Robert A., and Page Valentine Regan. "Lights, Camera, (Youth Participatory) Action! Lessons from Filming a Documentary with Trans and Gender Non-conforming Youth in the USA." In Arts and Health Promotion, 123–40. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-56417-9_8.
Повний текст джерела
2
Decherney, Peter. "The Power of Participatory and Immersive Filmmaking." In Migration, Displacement, and Higher Education, 195–204. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-12350-4_16.
Повний текст джерелаАнотація:
AbstractFilmAid Kenya (FAK) runs film schools in refugee camps, and each year FAK trains dozens of young filmmakers in the Kakuma and Dadaab camps. Some FAK graduates go on to work as wedding photographers and freelance video journalists—jobs that have surprising demand in the camps. FAK’s most lasting contribution, however, is empowering young people to tell their personal stories. Many of the beautiful, often surprising, films made by FAK students have gone on to win film festival awards and contribute to the global conversation about refugees. When the films do not find audiences outside the camps, there is a cathartic power in the act of communicating. FAK has also built a creative community within the refugee camps. Students and graduates spend time at the FAK compound on their days off, even when the power supply is routinely suspended, disabling the cameras and editing stations.
3
Markham, Peter. "Camera." In The Art of the Filmmaker, 97–135. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197631522.003.0010.
Повний текст джерелаАнотація:
Abstract In this chapter camera is understood first as concept, then practice. Concept covers the categories of invisible/visible, capturing/participating, ubiquitous/restricted, witness/voyeur, transgressive, critical, passive-minimal/dynamic-participatory-complicit, and shapeshifting. Factors determining placement, whether flexible or restricted, are seen as related to film lensing, to angle, to context within a scene or “sequence shot,” and to a filmmaker’s intuition and individual vision. Choice of angle as applied to a single or 2-shot is offered as key to a general understanding, given that staging, looks between characters, the dimensions and configuration of a set/location, space—deep, mid, flat, background—narrative POV, actor, and performance will inform the filmmaker’s options. The following aspects of angles and their effects on the audience are illustrated: frontal angles, profiles, half-profiles, angles articulating narrative POV, back shots, top shots, raking (low, high), dutched angles, angles on axis of the drama, camera height, and character eye level. The reader’s understanding of camera movement is informed through aspects of x-, y-, or z- axes (lateral, vertical, or deep), push in/pull out, speed, axis, countermoves, editing in camera, narrative/descriptive moves, pivots, and steady/unsteady camerawork. Lensing is analyzed through facets of depth of field; wide-angle, neutral, and long lenses; effects of these, and qualities of the image afforded by spherical and anamorphic lenses.
4
Dearden, Andy, and Syed Mohammed Haider Rizvi. "A Deeply Embedded Sociotechnical Strategy for Designing ICT for Development." In Knowledge Development and Social Change through Technology, 248–65. IGI Global, 2011. http://dx.doi.org/10.4018/978-1-60960-507-0.ch019.
Повний текст джерелаАнотація:
Development is a social phenomenon. Information and Communication Technologies (ICT) are a technical phenomenon. Therefore, ICT for development is inescapably a socio-technical phenomenon. For this reason, ICT design efforts that frame themselves with development objectives, require an analysis of their intervention strategies in explicitly socio-technical terms. In this paper, the authors reflect on the strategies adopted by the Rural e-Services project, which has been working with a co-operative of marginal farmers in rural India to design new software and new practices using mobile camera phones to communicate with their agricultural advisors. By combining approaches from participatory development practice and participatory methods of ICT design, the project was able to manage a sustainable socio-technical reconfiguration of the operations of the co-operative.
5
Bricca, Jacob. "Presence Framing." In How Documentaries Work, 84—C4.N21. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197554104.003.0005.
Повний текст джерелаАнотація:
Abstract Chapter 4 introduces the term “presence framing” (or “the framing of presence”) as the way in which documentaries arrange their materials for the audience in order to suggest a particular interpretation of the onscreen relationship between the participants, the camera, and the filmmaker. Some documentaries use observational framing, cutting out all references to the act of filming and creating a world in which it appears that the camera was never seen or noticed by the participants. Participatory framing, by contrast, acknowledges the presence of the filmmaker to some degree, either by implication (since the interviewees are talking to someone offscreen) or more explicitly by having the participants interact with the filmmaker onscreen or talk to them offscreen. The reflexive frame critiques the entire filmmaking project by throwing attention onto the illusory nature of all documentary filmmaking. The role of the narrator is discussed in the context of presence framing, and the ways in which filmmakers alter the outcome of the events they portray are elaborated upon. The concept of the semi-staged scene is introduced, in which participants appear to discuss things between themselves but have in fact been directed to do so.
6
"Oppositional Optics: The View from Hong Kong." In Women Filmmakers and the Visual Politics of Transnational China in the #MeToo Era. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463728355_ch07.
Повний текст джерелаАнотація:
Taking up their cameras, Hong Kong women engage with the gender dynamics of Hong Kong’s political landscape from a largely oppositional position critical of the government. Their oppositional gaze serves as a force of resistance in Hong Kong films related to the 2014 Umbrella and 2019 Anti-ELAB movements. Female filmmakers such as Nate Chan, Liu To, Nora Lam, Kanas Liu, Anson Mak, and Sue Williams draw on techniques associated with participatory journalism, documentary filmmaking, experimental media, and agit-prop production to engage with Hong Kong’s turbulent politics. They make use of cellphones, light-weight cameras and sound recording devices, first-person perspectives, observational as well as interview formats, and sophisticated montage techniques to provide a compelling vision of the city’s protest culture.
7
Aguayo, Angela J. "Conclusion." In Documentary Resistance, 227–40. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190676216.003.0007.
Повний текст джерелаАнотація:
This chapter centers on the idea of the documentary commons as a framework for understanding documentary’s engagement with social change. In the developing public commons, the documentary impulse is a way of life and articulation of political information that produces a kind of democratic exchange with new patterns of public communication. With the pervasive use of cameras and live broadcasts, the documentary impulse is realizing its potential to create participatory media cultures. Among the topics in this chapter are the possibilities for future research and contributions to theories of social change, participatory media cultures, collective identification, and agency. This chapter also addresses the political economy of social change documentary, the ideological glass ceiling of mass media, and the role of professional opportunity and education in shaping social change expectations.
8
Curran, Kevin, John Crumlish, and Gavin Fisher. "OpenStreetMap." In Geographic Information Systems, 540–49. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-2038-4.ch033.
Повний текст джерелаАнотація:
OpenStreetMap is a collaborative web-mapping project that collects geospatial data to create and distribute online maps, freely available to anyone with an Internet connection. Once accessed, OpenStreetMap allows Internet users to contribute and edit geospatial data, effectively making it the mapping equivalent of Wikipedia. OpenStreetMap is maintained by volunteer cartographers from around the world who use GPS devices, portable cameras, and laptops for field mapping. Collected data are complemented with digitised open source aerial photography and free maps from the governmental and commercial sources. This report provides a summary of OpenStreetMap as a remarkable example of participatory geographic information systems (GIS).
9
L’Hérault, Vincent, Natalie Baird, Hillary Beattie, Ian Mauro, and Eric Solomon. "13 Coastlines, Communities, and Cameras: How Participatory Video Can Enhance Ocean Research." In Sea Change, 208–21. University of British Columbia Press, 2024. http://dx.doi.org/10.59962/9780774869058-017.
Повний текст джерела
10
Kim, Jihoon. "The Archival Turn." In Activism and Post-activism, 192–219. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197760413.003.0007.
Повний текст джерелаАнотація:
Abstract This chapter examines the ways in which several Korean documentary films in the 2010s use archival footage of the distant or recent histories of Korea. Here I characterize the recent Korean documentary’s increasing uses of found footage as the “archival turn” and argue for its two implications. First, this term suggests that the extensive uses of found footage allow filmmakers to develop other modes of documentary filmmaking—compilation documentary, essay film, and metahistorical documentary—besides the participatory mode distinguished by the supremacy of the camera’s immediate, on-the-spot witnessing of reality. Second, this term indicates that Walter Benjamin’s idea of “material historiography” is shared by the filmmakers, as their appropriation, reassessment, and manipulation of found footage are motivated by the desire to endow it with a new historical perspective in relation to their engagement with the politics of the present. That is, the filmmakers’ attempts to reread archival materials are justified by their impulse to engage a series of contemporaneous social events that have triggered collective memories of a past, including “memory wars” that have centered around the ideological conflict regarding the status of the Gwangju Uprising, feminist social movements, the Youngsan Massacre, and labor struggles against the neoliberal employment system.
Тези доповідей конференцій з теми "Participatory camera"
1
Rege, Manoj R., Vlado Handziski, and Adam Wolisz. "PhD forum: Using participatory camera networks for object tracking." In 2011 Fifth ACM/IEEE International Conference on Distributed Smart Cameras (ICDSC). IEEE, 2011. http://dx.doi.org/10.1109/icdsc.2011.6042947.
Повний текст джерела
2
Platt, Don, and Guy A. Boy. "Participatory design of the virtual camera for deep space exploration." In the International Conference. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2669592.2669653.
Повний текст джерела
3
Ji, Nancy Yao. "Renovation Machizukuri in Contemporary Japan: The Cases of Suwa, Kokura and Onomichi." In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5026ptoed.
Повний текст джерелаАнотація:
The increasing number of vacant properties is a pressing challenge in Japan today. Depopulated towns and neighbourhoods are experiencing socio-economic decline. In response, citizen groups have carried out diverse activities known as “machizukuri” to improve the quality of life in their communities and living environments. Since the 2000s, machizukuri practices that involve the renovation of vacant building stock came to be known as “renovation machizukuri” (renovation town-making) which emphasizes social engagement through participatory design and do-it-yourself (DIY) building methods. This paper presents examples of renovation machizukuri that have emerged in recent years and are still ongoing in three Japanese cities – Suwa, Kokura and Onomichi. These three case studies shed light on the evolving role of architects and professionals who work together with citizens and volunteers in the sharing of knowledge and resources drawn together through strong social networks both online and offline. They are part of a larger movement in the rise of renovation culture, signifying a new era in contemporary Japanese architecture and town planning.
4
Dinccag Kahveci, Aysegül. "The appropriation of traditional houses in Imbros/Gökçeada." In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Valencia: Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.15722.
Повний текст джерелаАнотація:
This paper explores the transformation of locality in relation to vernacular architecture on the former Greek island of Imbros (Gökçeada) in Turkey. The people of Imbros were forced to leave their homeland due to a state-initiated policy of Turkification that started in the early 1960s. The structural evolution of the traditional Imbriotic House came to a halt due to the forced immigration of the Imbrian people. Today, the material remains of houses in villages contribute to heritage capital, while allowing returnees a chance to critically reflect on their tangible heritage. The paper aims to understand changes in the built environment and its cultural and historical contexts and records the contemporary architectural applications of the social transition of a rural community in a global age. The study shows how traditional houses are ‘modernized’ by 2nd and 3rd generation returnees of the Imbrian community, in line with the changing needs of their inhabitants, and questions how the local identity is reproduced by the heritage community. By analysing the spatial modifications of the typologies and the construction adaptation of the buildings, the study examines which architectural components are kept and/or changed in order to preserve the “local identity” in everyday life on the island today. The paper compiles preliminary findings based on ethnographic field research conducted in 2018-2019, which yielded qualitative data from oral narratives and participatory observations, and also uses the data obtained from architectural research tools. Focusing on the reconstruction of old houses by returnees from the Imbrian community, this paper showcases the appropriation of vernacular architecture in a contested area in relation to locality.
Звіти організацій з теми "Participatory camera"
1
Snijder, Mieke, Jacky Hicks, Sukanta Paul, Amit Arulanantham, Marina Apgar, Jiniya Afroze, Shanta Karki, et al. Using a ‘Partnership Rubric’ in Participatory Evaluations. Institute of Development Studies, July 2023. http://dx.doi.org/10.19088/clarissa.2023.001.
Повний текст джерелаАнотація:
Programmes that aim to tackle complex societal issues, such as the worst forms of child labour, require rich partnerships that bring together different perspectives. CLARISSA’s consortium partnership adopts an empowerment approach to the interventions we deliver and our ways of working together. Part of this approach involves ongoing reflection and learning about how we work together in our partnership, and how this can be adapted if needed. This learning note focuses on a method used in CLARISSA to both reflect on and strengthen how we work in partnerships – the partnership rubric. We found that using the rubric flexibly was key to mitigating some of the challenges of such a complex consortium. This included using it in different sizes of forum, with different levels of preparation. Periodically adapting it for country context and as new partners came on board also helped ensure a shared sense of our preferred ways of working as the project progressed.
2
Evidencing Participatory Child Rights Work. Institute of Development Studies, May 2022. http://dx.doi.org/10.19088/rejuvenate.2022.003.
Повний текст джерелаАнотація:
The impetus for this dialogue came out our first Rejuvenate working paper – which formed the basis of our living archive. In the paper, we tried to map the people, projects and publications that occupied the space at the intersection of child rights and participation. What we found in our review was that most of the ‘evidence’ presented by what we think of as substantively participatory work, the end point of which would be child/youth-led work, was evidence of how to do participation well. As evidence, it was slightly circular because it started from an assumption that rights are intrinsically valid and then tried to show how to best engage with children/young people, focusing on process rather than outcomes. In a global context of shrinking civic space, and in which rights agendas are being systematically eroded, a conversation on how and why we evidence rights becomes even more important. In this dialogue, we asked: Why do we measure what, and for whom? how can we include children and young people in these processes? and how can monitoring and evaluation work serve accountability to a diverse range of stakeholders?