Espectador Activo: Comunicação audiovisual institucional num mundo de redes participativas

Once delighted by the moving image advent as a new method of realistically presenting reality, the viewer has been reposition himself towards the audiovisual contents he consumes, as he is given the opportunity to create and share his own perspective of that reality. We are living in a new technological setting, governed mainly by factors of interactivity, digital systems and technological convergence. The research project that we will present in this paper focuses on the subject of participatory media and the way cultural institutions are increasingly facing the inevitability of a profound revision of their traditional parameters of unidirectional communication, given the increasing availability of tools for audiovisual production as well as the diversity of networked communication contexts. The Serralves Foundation with its Museum of Contemporary Art, in Porto, Portugal, was the subject of a fi rst study of an empirical nature: a series of audiovisual objects were developed, in order to generate material for analysis and proposition. In this new stage of the project, our aim is to identify new procedures and practices that may be effectively implemented within the institutional universe. We intend to propose effi cient audiovisual communication contexts, including the maximizing of the relationship between institutions and audiences regarding dimensions that are traditionally outside the institutional radar: identity, narrative and affection. The project is currently in the process of surveying and categorization, with the aim of producing a map of different vocations and positions of the various institutions in regards to the aforementioned issues, which require participatory communication.

Branca de Neve e as imagens no escuro

Partindo de uma referência aos filmes Branca de Neve de João César Monteiro e O Quarto da Vanda de Pedro Costa, este texto procura reflectir sobre o que o cinema acrescenta aos filmes. Ou seja, se o cinema não é um meio neutro de simples narração de histórias ou de documentos sociais e pessoais, como é que ele se manifesta para além da «linguagem» da indústria e do seu autor? O que este texto pretende fazer sobressair é a importância da montagem e do som numa arte que ficou associada à imagem em movimento. Neste sentido, o texto é também uma panorâmica sobre algumas propostas teóricas sobre esses dois conceitos.

Setmana internacional de l'accés obert 2011

La UOC participa aquesta edició en la Setmana Internacional de l'Accés obert (Open Access Week), que se celebra arreu del món del 24 al 30 d'octubre de 2011, adoptant el lema "L'accés obert a la UOC". Amb aquest motiu els vicerectors de la UOC ens expliquen la importància dels continguts en accés obert, quina és la política seguida a la UOC, com aquests recursos milloren la visibilitat de la docència i la recerca portades a terme a la UOC...

UOC Open Access Week 2011

La UOC participa aquesta edició en la Setmana Internacional de l'Accés obert (Open Access Week), que se celebra arreu del món del 24 al 30 d'octubre de 2011, adoptant el lema "L'accés obert a la UOC". Amb aquest motiu els vicerectors de la UOC ens expliquen la importància dels continguts en accés obert, quina és la política seguida a la UOC, com aquests recursos milloren la visibilitat de la docència i la recerca portades a terme a la UOC...

Semana internacional del acceso abierto 2011

La UOC participa aquesta edició en la Setmana Internacional de l'Accés obert (Open Access Week), que se celebra arreu del món del 24 al 30 d'octubre de 2011, adoptant el lema "L'accés obert a la UOC". Amb aquest motiu els vicerectors de la UOC ens expliquen la importància dels continguts en accés obert, quina és la política seguida a la UOC, com aquests recursos milloren la visibilitat de la docència i la recerca portades a terme a la UOC...

Cal Educamp 2011. Apuesta por una formación disruptiva al otro lado del charco

Peer-reviewed

Ovatko kaikki analogiset elokuvat "orpoja"? : esidigitaalinen tilannekatsaus

Teemanumero 1/2012: Arkisto. Artikkeli julkaistu alunperin nimellä "Are all (analog) films 'orphans'? A predigital appraisal. The Moving image -lehdessä 9(1) 2009. Käännös Juha Kindberg.

Oodi filmille sen alasajon aikakaudella

Kirjallisuusarvostelu

Real-time monitoring of laser scribing process utilizing high-speed camera

Currently, laser scribing is growing material processing method in the industry. Benefits of laser scribing technology are studied for example for improving an efficiency of solar cells. Due high-quality requirement of the fast scribing process, it is important to monitor the process in real time for detecting possible defects during the process. However, there is a lack of studies of laser scribing real time monitoring. Commonly used monitoring methods developed for other laser processes such a laser welding, are sufficient slow and existed applications cannot be implemented in fast laser scribing monitoring. The aim of this thesis is to find a method for laser scribing monitoring with a high-speed camera and evaluate reliability and performance of the developed monitoring system with experiments. The laser used in experiments is an IPG ytterbium pulsed fiber laser with 20 W maximum average power and Scan head optics used in the laser is Scanlab’s Hurryscan 14 II with an f100 tele-centric lens. The camera was connected to laser scanner using camera adapter to follow the laser process. A powerful fully programmable industrial computer was chosen for executing image processing and analysis. Algorithms for defect analysis, which are based on particle analysis, were developed using LabVIEW system design software. The performance of the algorithms was analyzed by analyzing a non-moving image from the scribing line with resolution 960x20 pixel. As a result, the maximum analysis speed was 560 frames per second. Reliability of the algorithm was evaluated by imaging scribing path with a variable number of defects 2000 mm/s when the laser was turned off and image analysis speed was 430 frames per second. The experiment was successful and as a result, the algorithms detected all defects from the scribing path. The final monitoring experiment was performed during a laser process. However, it was challenging to get active laser illumination work with the laser scanner due physical dimensions of the laser lens and the scanner. For reliable error detection, the illumination system is needed to be replaced.

A step-by-step guide for building localised versions of the MIC site. Version 1.1

This is a test version of the kit for localising the Moving Image Collections (MIC) site, designed in the context of a research project undertaken by the Audiovisual and Multimedia Section (AVMS) of IFLA.

"Created in China" : l'émergence de nouvelles subjectivités dans l'industrie du cinéma indépendant chinois en contexte postsocialiste

In the current contemporary Chinese context, still caught up with a governmental censorship of the media productions as well as information circulation, creators must find diverse ways to express themselves freely. Several styles of cinemas cohabit in this country hustled by political ideologies. Two main categories are divided, opposed and intermingled, the “mainstream” cinema and the “independent” cinema. It is via the medium of cinema and more particularly that of the present generation of Chinese directors that will be highlighted the emergence of new creative subjectivities. These subjectivities are in a constant dance with the State in the reaching of professional achievement while maintaining the status of artistic independence. The author will look into the evolution of the notion of Chinese identity from the 1990s until today. Rising from an opposition between tradition and modernism, the formation of new subjectivities is founded on a constant negotiation with the imposing forces of globalization but also in relation with the Chinese State. One currently speaks about an easing of communist rigidity and even the emergence of neoliberal tendencies. This would lead to the creation of a Chinese identity, brought up to date in tune with the assertion of individual desires at the expense of the community. The collective experiment is set aside to make room for the subjectivity of creative individuals, who create while positioning themselves as a unit in interrelationship with society.

L'éducation cinématographique, une nouvelle approche pour les écoles secondaires québécoises

Pour respecter les droits d'auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Le temps décomposé : cinéma et imaginaire de la ruine

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal.

La représentation de la chanson québécoise dans le cinéma québécois

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Le cinéma des Premières Nations du Québec et des Inuit du Nunavut : réappropriation culturelle et esthétique du sacré.

Résumé Cette thèse de doctorat porte sur le cinéma envisagé comme un agent de réappropriation culturelle pour les Premières Nations du Québec et les Inuit du Nunavut. De manière plus spécifique, nous avons cherché à comprendre comment les peuples autochtones et inuit se servent d’un médium contemporain pour prendre la parole, revendiquer leurs droits politiques et réécrire une histoire ayant été jusqu’à récemment racontée selon le point du vue de médiateurs externes. À cet effet, l’emprunt d’éléments propres aux méthodologies autochtones, autant dans la forme que dans le contenu, auront permis de faire ressortir un aspect particulier des cultures autochtones, soit la manifestation d’une pensée orale centrée autour de la notion du sacré. La première partie de cette recherche est ainsi consacrée à la théorisation d’un sacré autochtone omniprésent dans toutes les sphères de leur quotidien, et qui se transpose à l’écran sous la forme d’une esthétique particulière, que nous nommons esthétique du sacré. En outre, le visionnement et l’analyse de courts et de long-métrages autochtones et inuit ont fait ressortir avec force les principaux éléments d’une esthétique du sacré qui s’exprime entre autres à travers une éthique de travail privilégiant la collaboration communautaire et une écoute attentive de la parole de l’interlocuteur, ainsi qu’à travers la remédiation des récits issus de la tradition orale. Ainsi, l’exploration de l’œuvre documentaire d’Alanis Obomsawin met de l’avant l’importance du rôle joué par les femmes autochtones au sein de leurs communautés, celles-ci se présentant comme les principaux agents de changement et médiatrices de leur culture. Dans la même veine, l’étude du projet Wapikoni Mobile nous a permis d’esquisser un portrait nouveau de la jeunesse autochtone, les œuvres réalisées par ces cinéastes néophytes reflétant l’importance pour eux de réactualiser la tradition tout en nourrissant des liens de confiance avec leurs aînés, ces gardiens de la mémoire. Enfin, le dernier chapitre portant sur l’élaboration d’une nouvelle cinématographie inuit démontre comment le cinéma est un outil apte à traduire avec justesse les subtilités présentes dans les récits issus de la tradition orale.