A Framework to Capture and Share Knowledge Using Storytelling and Video Sharing in Global Product Development

In global engineering enterprises, information and knowledge sharing are critical factors that can determine a project’s success. This statement is widely acknowledged in published literature. However, according to some academics, tacit knowledge is derived from a person’s lifetime of experience, practice, perception and learning, which makes it hard to capture and document in order to be shared. This project investigates if social media tools can be used to improve and enable tacit knowledge sharing within a global engineering enterprise. This paper first provides a brief background of the subject area, followed by an explanation of the industrial investigation, from which the proposed knowledge framework to improve tacit knowledge sharing is presented. This project’s main focus is on the improvement of collaboration and knowledge sharing amongst product development engineers in order to improve the whole product development cycle.

Short films about flying

Online artwork which streams web-cam images live from the Internet and re-mixes them into disjointed narrative sequences, thereby producing cinema as a 'found object' made entirely of live material streamed from the internet. ‘Short Films about Flying’ is an online film which explores how a cinematic work can be generated using live material from the internet. The work is driven by software that takes surveillance video from a live camera feed at Logan Airport, Boston, and combines this with randomly grabbed audio from the web and texts taken from websites, chat rooms, message boards etc. This results in an endless open edition of unique cinematic works in real-time. By combining the language of cinema with global real-time data technologies, this work is one of the first new media artworks to re-imagine the internet in a different sensory form as a cinematic space. ‘Short Films about Flying’ was developed over the course of a year in collaboration with Jon Thomson (Slade) to explore how the concept of the found object can be re-conceptualised as the found data stream. It has informed other research by Craighead and Thomson, such as the web project http://www.templatecinema.com, and began an examination into relationships between montage and live virtual data –an early example of which would be ‘Flat Earth’, an animated work developed for Channel 4 in 2007, with the production company Animate. This piece has been cited in discussions on new media art, as a significant example of artworks using a database as their determining structure. It was acquired for the Arts Council Collection and has continuously toured significant international venues over the last 4 years. Citations include:’ Time and Technology’ by Charlie Gere (2006); 'The Wrong Categories' by Kris Cohen (2006); 'Networked Art - Practices and Positions' edited by Tom Corby (Routledge 2005) and Grayson Perry in The Times (9.8.06).

(un)childhood: performing the voices and times of childhood through relational video-making

This practice-based PhD is comprised of two interrelated elements: (i) ‘(un)childhood’, a 53’ video-essay shown on two screens; and (ii) a 58286 word written thesis. The project, which is contextualised within the tradition of artists working with their own children on time-based art projects, explores a new approach to timebased artistic work about childhood. While Stan Brakhage (1933-2003), Ernie Gher (1943-), Erik Bullot (1963-) and Mary Kelly (1941-) all documented, photographed and filmed their children over a period of years to produce art projects (experimental films and a time-based installation), these projects were implicitly underpinned by a construction of childhood in which children, shown as they grow, represent the abstract primitive subject. The current project challenges the convention of representing children entirely from the adult’s point of view, as aesthetic objects without a voice, as well as through the artist’s chronological approach to time. Instead, this project focuses on the relational joining of the child’s and adult’s points of view. The artist worked on a video project with her own son over a four-and-a-half year period (between the ages of 5 and 10) through which she developed her ‘relational video-making’ methodology. The video-essay (un)childhood performs the relational voices of childhood as resulting from the verbal interactions of both children and adults. The non-chronological nature of(un)childhood offers an alternative to the linear-temporal approach to the representation of childhood. Through montage and a number of literal allusions to time in its dialogue, (un)childhood performs the relational times of childhood by combining children’s lives in the present with the temporal dimensions that have traditionally constructed childhood: past, future and timeless.

Image, video and 3D data registration: medical, satellite and video processing applications with quality metrics

Data registration refers to a series of techniques for matching or bringing similar objects or datasets together into alignment. These techniques enjoy widespread use in a diverse variety of applications, such as video coding, tracking, object and face detection and recognition, surveillance and satellite imaging, medical image analysis and structure from motion. Registration methods are as numerous as their manifold uses, from pixel level and block or feature based methods to Fourier domain methods. This book is focused on providing algorithms and image and video techniques for registration and quality performance metrics. The authors provide various assessment metrics for measuring registration quality alongside analyses of registration techniques, introducing and explaining both familiar and state–of–the–art registration methodologies used in a variety of targeted applications.

Special Section Guest Editorial: Image/Video Quality and System Performance

Rapid developments in display technologies, digital printing, imaging sensors, image processing and image transmission are providing new possibilities for creating and conveying visual content. In an age in which images and video are ubiquitous and where mobile, satellite, and three-dimensional (3-D) imaging have become ordinary experiences, quantification of the performance of modern imaging systems requires appropriate approaches. At the end of the imaging chain, a human observer must decide whether images and video are of a satisfactory visual quality. Hence the measurement and modeling of perceived image quality is of crucial importance, not only in visual arts and commercial applications but also in scientific and entertainment environments. Advances in our understanding of the human visual system offer new possibilities for creating visually superior imaging systems and promise more accurate modeling of image quality. As a result, there is a profusion of new research on imaging performance and perceived quality.