The incorporation of violence by women video artists

This paper examines the way in which women video artists embodied violence in their video pieces as a strategy of critique of the patriarchal regime. Since the 1960s several generations of women artists used different strategies of self-harm or explored the physical and mental limits of their bodies to express the anguish of those who are excluded from the patriarchal society on sexist and/or racist grounds. Considering the guiding line that covers three fields – art, gender, and feminist social movements – as well as their key thinkers and scholars in Sociology, Fine Arts and the Humanities, we have built the object of study of this essay, namely, the relationship between women's video art focused on the body, violence and gender along with feminist social movements in the period ranging from 1967 to 2007, in a Western context. The methodology used had as its primary goal to create a link between the micro-sociological level of expressions, body gestures and behaviours in the videos and the macro-sociological level of broader, institutionalized social forces that are at the origin of inequalities, such as dimensions of gender and «race». This study concluded that at least since the 1960s there is the denunciation by women video artists of the general circumstances women live under, while enduring violence of various kinds, such as socio-cultural, psychological and sexual violence against women.

Self determination, embodied languages and landscapes in women's video art.

This paper addresses how, since the 1960s to the present, part of women's video art has broken the traditional representation of women’s body and proposed new forms of recording women's images, explicit or symbolic, using body part close-ups, and not sparing any efforts to ensure the prevention of the cataloguing of women’s bodies according to normative categories, such as gender, race and age, and in this way challenging the Western representation codes that objectify women. The methodology employed had as its primary purpose the examination of the association existing between the micro-sociological level of body gestures and performances in women's videos and the macro-sociological level of social forces such as the dimensions of gender and sexuality. This study concluded that narratives of identity and self-determination are present in women's video pieces contributing to women's empowerment through visual discourses that could possibly point to the production of new signs and symbols, new values and models, but also for the formation of new types of social roles and even a new type of interpersonal relationships.

Implementación de un sistema de monitoreo a través de cámaras de video en el albergue para adulto mayor Hogar Casa Nostra

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Video-produkciós projektek a marketingoktatásban

Cikkünk oktatás-módszertani fejlesztői prezentáció, két eltérő profilú felsőoktatási intézmény többéves együttműködéséből létrejövő projektsorozat bemutatása. Egyedülálló oktatási programunkban, mely a Budapesti Corvinus Egyetem, Marketing és Média Intézete és Dunaújvárosi Főiskola (DUF) Déri János Kommunikációs Intézete, egy üzleti és egy műszaki orientációjú intézet közös munkája marketing mesterszakos közgazdász hallgatók számukra ismeretlen, nem kipróbált szerepekben rendezőként, operatőrként, vágóként, riporterként hoznak létre egy filmes produkciót. A DUF technikai háttere televíziós stúdiója, hangstúdiója, vágó és fotó stúdiói lehetővé teszik mind hallgatóink és mind oktatóink számára, hogy a ma vezető szakembereitől megkövetelt szereplési készségeket elsajátítsák – legyen az előadói verbális és nem verbális forma -, megismerjék saját nyilvános megnyilvánulásaik minőségét és fejlesztésének irányait. Előadásunk célja annak bemutatása, hogy a projekt megoldásának folyamata „csapatban megoldani egy ismeretlen komplex feladatot”, „feldolgozni egy szorosan nem szakmai értelemben vett témát” – egyben egy csapatépítő projektív kutatói technika.

Loop openness: a video reflection on the open work of art

The objective of this article is to reflect on the video art work in its loop production to perceive the possibility of it being received as an open work. In order to contextualize this reflection the text is anchored in the concept of image-crystal from Gilles Deleuze. For the purpose of empirically explore theoretical concepts such as video art, open work and image-crystal it was produced a practical project of video art that intends to reflect on the notion of time in a context of a loop exhibition. Therefore this project aims to motivate the reflection on the loop as a mechanism to contour the ephemeral character of video art and, at the same time, it seeks to emphasize questions about the element of multiplicity and plurality in art. It is a scientific and artistic project in which the practical component supports the dialectic between theory and practice, action and reflection. In this sense, based on the video entitled "The Walk" this article demonstrates how the theoretical concepts were used to support the artistic creation. Finally the conclusions sustain that the work of video art, when presented in loop, is a creative and expository strategy which encourages multiple interpretations that vary according to the narrative, the context in which it takes place and the attitude and the background of the spectator.

An in-depth characterisation of neonatal seizures by early continuous video-EEG analysis

Introduction Seizures are harmful to the neonatal brain; this compels many clinicians and researchers to persevere further in optimizing every aspects of managing neonatal seizures. Aims To delineate the seizure profile between non-cooled versus cooled neonates with hypoxic-ischaemic encephalopathy (HIE), in neonates with stroke, the response of seizure burden to phenobarbitone and to quantify the degree of electroclinical dissociation (ECD) of seizures. Methods The multichannel video-EEG was used in this research study as the gold standard to detect seizures, allowing accurate quantification of seizure burden to be ascertained in term neonates. The entire EEG recording for each neonate was independently reviewed by at least 1 experienced neurophysiologist. Data were expressed in medians and interquartile ranges. Linear mixed models results were presented as mean (95% confidence interval); p values <0.05 were deemed as significant. Results Seizure burden in cooled neonates was lower than in non-cooled neonates [60(39-224) vs 203(141-406) minutes; p=0.027]. Seizure burden was reduced in cooled neonates with moderate HIE [49(26-89) vs 162(97-262) minutes; p=0.020] when compared with severe HIE. In neonates with stroke, the background pattern showed suppression over the infarcted side and seizures demonstrated a characteristic pattern. Compared with 10 mg/kg, phenobarbitone doses at 20 mg/kg reduced seizure burden (p=0.004). Seizure burden was reduced within 1 hour of phenobarbitone administration [mean (95% confidence interval): -14(-20 to -8) minutes/hour; p<0.001], but seizures returned to pre-treatment levels within 4 hours (p=0.064). The ECD index in cooled, non-cooled neonates with HIE, stroke and in neonates with other diagnoses were 88%, 94%, 64% and 75% respectively. Conclusions Further research exploring the treatment effects on seizure burden in the neonatal brain is required. A change to our current treatment strategy is warranted as we continue to strive for more effective seizure control, anchored with use of the multichannel EEG as the surveillance tool.

Comparison of small remotely operated vehicles and diver-operated video of circalittoral benthos

Underwater video transect methods using small remotely operated vehicles (ROVs) and diveroperated video (DOV) are commonly used in benthic biodiversity assessments. Constraints posed by deeper waters have made surveys of the circalittoral zone ([30 m depth), a particularly challenging problem. Here we compare benthic diversity metrics and cluster analyses obtained with ROV and DOV between 45 and 65 m depth off southwest Iberia, across local (tens to hundreds of meters) and regional scales (tens of kilometers). Results showed no difference between methods in terms of the benthic species richness, taxonomic distinctness, and beta diversity, but only minor differences in the spatial structure depicted at the regional level. At the local scale, DOV performed better at discriminating patterns likely because of the divers visual acuity. We found that small ROV and DOV are reliable and comparable methods for the study of circalittoral benthic assemblages and can be used in a complimentary way to detect the greatest amount of variation in benthic ecosystems. Our study facilitates the understanding of capabilities and limitations of two underwater video methods and provides important insight into choice of the most appropriate technique.

Victor Mestre | Sofia Aleixo, arquitectos: El hombre, el medio ambiente y la tradición en transición (video)

Intervir numa preexistência é como que escutar o eco das vivências que aí ocorreram. Nesses lugares, as paredes registam as vivências do tempo, a que não podemos ficar indiferentes, em face de terem sido espaços de felicidade ou de emoções negativas. Lugares que acolheram, outrora, determinadas vivências configuram aquilo a que denominamos de "a espessura do tempo na arquitectura". Intervimos assim numa procura de interligação temporal onde, o passado resgatado às suas memórias, se transmuta em elo de ligação entre passado, presente e futuro. O que realmente procuramos é um elo ético para com a continuidade patrimonial, onde o homem é a medida e a razão de ser das intervenções. Consideramos igualmente fundamental a permanente investigação que realizamos no âmbito das arquitecturas vernacular, tradicional e erudita nomeadamente os seus materiais, tecnologias, configurações espácio-funcionais, composições artísticas, em conjunto com as dinâmicas sociais, permitindo em cada projecto que realizamos identificar a identidade cultural em presença. As intervenções que apresentamos refletem esse percurso num contexto hereditário, de passagem de testemunho, a enobrecer com as propostas de projecto, onde sobressai a função social do arquitecto.

Studio e Sperimentazione di Algoritmi di Reinforcement Learning Applicati a Video Game

Nella prima parte del mio lavoro viene presentato uno studio di una prima soluzione "from scratch" sviluppata da Andrew Karpathy. Seguono due miei miglioramenti: il primo modificando direttamente il codice della precedente soluzione e introducendo, come obbiettivo aggiuntivo per la rete nelle prime fasi di gioco, l'intercettazione della pallina da parte della racchetta, migliorando l'addestramento iniziale; il secondo é una mia personale implementazione utilizzando algoritmi più complessi, che sono allo stato dell'arte su giochi dell'Atari, e che portano un addestramento molto più veloce della rete.

L'artivismo di Giacomo Verde: come l'arte in video può cambiare le prospettive individuali e sociali

Ho deciso di approfondire la figura di Giacomo Verde. Nel primo capitolo s’intende inquadrare il periodo storico nel quale Verde si è inserito e le correnti storiche che ha attraversato. Il secondo capitolo è dedicato all’arte ludica e in particolare, all’invenzione del Teleracconto (1989) per il gruppo Giallo Mare Minimal Teatro. Dalla Storia di Hansel e Gretel a Bit il burattino ai racconti illustrati con gli ologrammi, ad altri progetti in video, Verde sposta l’attenzione dell’arte dall’oggetto al soggetto. Nel terzo capitolo, si farà riferimento a ciò che ha segnato nel profondo la sua carriera: l’Artivismo. Il suo significato e come viene applicato alla vita pratica. Con questo percorso si ha l’auspicio che la voglia di battersi per un valore, per un cambiamento sociale non sia solo simbolico. Concretizzare può essere un atto difficile da perseguire ed è per questo che ci vengono incontro gli strumenti e le persone; con l’arte in video si scatena un po' lo stesso meccanismo: arte fatta di dispositivi tecnologi che coniugano più aspetti della vita umana: primo fra tutti quello emozionale. Alla luce di queste premesse e per concludere l’excursus su un artista poliedrico, ho deciso di somministrare un sondaggio a campione parziale. Ispirata dalle esperienze passate e dalla prefazione di Antonio Caronia in Artivismo tecnologico. Scritti e interviste su arte, politica, teatro e tecnologie (2007), mi sono chiesta cosa ne pensassero gli altri circa il rapporto tra arte e politica, quanto questi si sentano influenzati da una società che comunica quasi esclusivamente attraverso le immagini. Verde, in fondo, con la sua poetica, insegna che l’arte, per essere incline alla condivisione e accessibile a tutti, deve essere anche fatta dalle persone.

Embedding Video Object Detection Capabilities on Low-Power Nano-Drones

Our objective for this thesis work was the deployment of a Neural Network based approach for video object detection on board a nano-drone. Furthermore, we have studied some possible extensions to exploit the temporal nature of videos to improve the detection capabilities of our algorithm. For our project, we have utilized the Mobilenetv2/v3SSDLite due to their limited computational and memory requirements. We have trained our networks on the IMAGENET VID 2015 dataset and to deploy it onto the nano-drone we have used the NNtool and Autotiler tools by GreenWaves. To exploit the temporal nature of video data we have tried different approaches: the introduction of an LSTM based convolutional layer in our architecture, the introduction of a Kalman filter based tracker as a postprocessing step to augment the results of our base architecture. We have obtain a total improvement in our performances of about 2.5 mAP with the Kalman filter based method(BYTE). Our detector run on a microcontroller class processor on board the nano-drone at 1.63 fps.