Recommender system for sport videos based on user audiovisual consumption

This paper describes a recommender system for sport videos, transmitted over the Internet and/or broadcast, in the context of large-scale events, which has been tested for the Olympic Games. The recommender is based on audiovisual consumption and does not depend on the number of users, running only on the client side. This avoids the concurrence, computation and privacy problems of central server approaches in scenarios with a large number of users, such as the Olympic Games. The system has been designed to take advantage of the information available in the videos, which is used along with the implicit information of the user and the modeling of his/her audiovisual content consumption. The system is thus transparent to the user, who does not need to take any specific action. Another important characteristic is that the system can produce recommendations for both live and recorded events. Testing has showed advantages compared to previous systems, as will be shown in the results.

Investigación en acción y el uso de videos para replicar rutinas interorganizativas en el servicio postventa

La investigación que presentamos propone un modelo para entender, primero, las rutinas interorganizativas que existen entre la empresa matriz y las empresas concesionarias. Segundo, investigar cómo mejorarlas. Y tercero, cómo introducir nuevos modelos de relación de forma ágil.

Open educational resources: the role of OCW, blogs and videos in computer network classrooms

This paper analyzes the learning experiences and opinions obtained from a group of undergraduate students in their interaction with several on-line multimedia resources included in a free on-line course about Computer Networks. These new educational resources employed are based on the Web 2.0 approach such as blogs, videos and virtual labs which have been added in a web-site for distance self-learning.

Importancia del uso de videos didácticos en la docencia presencial de las asignaturas de Biología

Existe una creciente utilización de los videos con fines didácticos en la enseñanza universitaria, de ahí la necesidad de un análisis en profundidad sobre los criterios de su uso para una docencia eficaz. El objetivo de éste trabajo es evaluar la pertinencia de los vídeos en la enseñanza de la Biología. En el estudio se han utilizado sendos cuestionarios, con Preguntas de Elección Múltiple, dirigidos a profesores y alumnos. Igualmente, empleando el programa HyperRESEARCH. se ha realizado un análisis cualitativo de las opiniones de los docentes implicados. El análisis estadístico de los datos se ha abordado con técnicas uni- y multivariantes. Los resultados ponen de manifiesto que tanto las opiniones de los alumnos como la de los profesores, abogan por la utilización de dichos recursos, resaltando los siguientes aspectos de los mismos: son escasamente utilizados, su uso en el aula está bien valorado, especialmente con fines demostrativos y los recursos que aporta la Universidad de Alicante son bien valorados. Aunque existen otros muchos datos relevantes, sin embargo, dada su dispersión, precisan de más estudios. En conclusión, podemos decir que los vídeos didácticos, aunque positivamente valorados, son escasamente utilizados.

Videos matemáticos

El proyecto de videos de divulgación de Matemática tiene el objetivo de poner en común algunos conceptos y fundamentos de esta ciencia que están presentes en la vida diaria y dar a conocer la importancia de los mismos, desmistificando la aparente dificultad y el prejuicio que se tiene hacia las Matemáticas. De esta forma se intenta democratizar el acceso a estos conocimientos para que más gente pueda sentirlos cerca de su realidad y también para que más niños y jóvenes los hagan suyos con la idea de que muchos de ellos podrían decidir estudiar carreras relacionadas a la Matemática si la vieran como una opción. Los videos cortos protagonizados por niños son ideales para lograr por un lado, la identificación del espectador con los protagonistas y por otro, para desarrollar los conceptos de forma comprensible para un público general. Estos videos pueden ser emitidos en la televisión, puedan usarse como disparadores de charlas en los colegios secundarios, pueden ser exhibidos en eventos y conferencias o ciclos de cine. La idea es que lleguen a la mayor cantidad de personas posible con el objetivo de acortar la brecha que existe entre la generación de conocimiento científico y la efectiva participación de los jóvenes en la cultura científica.

3D models created from ROV videos and their corresponding subtransect dimensions

Underwater video transects have become a common tool for quantitative analysis of the seafloor. However a major difficulty remains in the accurate determination of the area surveyed as underwater navigation can be unreliable and image scaling does not always compensate for distortions due to perspective and topography. Depending on the camera set-up and available instruments, different methods of surface measurement are applied, which make it difficult to compare data obtained by different vehicles. 3-D modelling of the seafloor based on 2-D video data and a reference scale can be used to compute subtransect dimensions. Focussing on the length of the subtransect, the data obtained from 3-D models created with the software PhotoModeler Scanner are compared with those determined from underwater acoustic positioning (ultra short baseline, USBL) and bottom tracking (Doppler velocity log, DVL). 3-D model building and scaling was successfully conducted on all three tested set-ups and the distortion of the reference scales due to substrate roughness was identified as the main source of imprecision. Acoustic positioning was generally inaccurate and bottom tracking unreliable on rough terrain. Subtransect lengths assessed with PhotoModeler were on average 20% longer than those derived from acoustic positioning due to the higher spatial resolution and the inclusion of slope. On a high relief wall bottom tracking and 3-D modelling yielded similar results. At present, 3-D modelling is the most powerful, albeit the most time-consuming, method for accurate determination of video subtransect dimensions.

Substance use in popular music videos /

"June 2002"

Substance use in popular music videos /

"Contract no. 289-99-0004"--P. [2] of cover.

Beyond Fashion Tips and Hijab Tutorials: The Aesthetic Style of Islamic Lifestyle Videos

Among young women, lifestyle videos have become extremely popular on YouTube, and a similar trend has emerged among young Muslim women who share modest fashion tips and discuss religious topics. This paper examines the videos of two prominent Muslim women on YouTube, Amena Khan and Dina Torkia, in an effort to understand how they engage with aesthetic styles in order to work against Western stereotypes of Muslim women as oppressed and lacking individuality. Islamic lifestyle videos might appear to simply promote a vacuous focus on appearances, but I argue that it is through the aesthetics and affects of these videos that Amena and Dina do political work to redistribute the sensible and shift what is considered attractive, beautiful and pleasurable in Western society. Additionally, the hybrid aesthetic styles and affects of authenticity and pleasure, which are possible in digital spaces like YouTube, offer Amena and Dina the chance to control their own visual images and to resist being coopted as icons of Western freedom or Islamic piety.

“How Do You ‘Do’ Bokeh?” The Aesthetics of How-to Videos about Background Blur and Eroticized Women

Producers of online instructional videos about bokeh emphasize disks of light and out-of-focus backgrounds. They demonstrate how camera lenses and technical features can render bokeh, or unfocused areas. Photographic and video bokeh ordinarily appears away from the center of attention. The bokeh genre, in opposition to typical photography and video practices, foregrounds the peripheral and proposes aesthetics and ways of looking by seeing and not seeing objects. However, producers of online instructional videos about bokeh sometimes couple their sensual aestheticization of backgrounds to their stated attempts to satisfy viewers’ investments in filling foregrounds with images of objectified women. These producers emphasize unconventional aesthetics as a means of establishing their creative and technical expertise and obscuring their reproduction of traditional conceptions of women as viewable and controllable. Close textual analysis, literature on photography and transparency, and feminist considerations of representation allow me to consider the aesthetics and functions of this how-to form.