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.

A Novel Framework for Real-time Traffic Flow Parameter Estimation from Aerial Videos

Thesis (Master's)--University of Washington, 2016-06

The development of self-recognition in mirrors and live videos

By 24-months of age most children show mirror self-recognition. When surreptitiously marked on their forehead and then presented with a mirror, they explore their own head for the unexpected mark. Here we demonstrate that self-recognition in mirrors does not generalize to other visual feedback. We tested 80 children on mirror and live video versions of the task. Whereas 90% of 24-month olds passed the mirror version, only 35% passed the video version. Seventy percent of 30-month olds showed video selfrecognition and only by age 36-months did the pass rate on the video version reach 90%. It remains to be y 24-months of age most children show mirror self-recognition. When surreptitiously marked on their forehead and then presented with a mirror, they explore their own head for the unexpected mark. Here we demonstrate that self-recognition in mirrors does not generalize to other visual feedback. We tested 80 children on mirror and live video versions of the task. Whereas 90% of 24-month olds passed the mirror version, only 35% passed the video version. Seventy percent of 30-month olds showed video selfrecognition and only by age 36-months did the pass rate on the video version reach 90%. It remains to be

Modeling and Annotating the Expressive Semantics of Dance Videos

Dance videos are interesting and semantics-intensive. At the same time, they are the complex type of videos compared to all other types such as sports, news and movie videos. In fact, dance video is the one which is less explored by the researchers across the globe. Dance videos exhibit rich semantics such as macro features and micro features and can be classified into several types. Hence, the conceptual modeling of the expressive semantics of the dance videos is very crucial and complex. This paper presents a generic Dance Video Semantics Model (DVSM) in order to represent the semantics of the dance videos at different granularity levels, identified by the components of the accompanying song. This model incorporates both syntactic and semantic features of the videos and introduces a new entity type called, Agent, to specify the micro features of the dance videos. The instantiations of the model are expressed as graphs. The model is implemented as a tool using J2SE and JMF to annotate the macro and micro features of the dance videos. Finally examples and evaluation results are provided to depict the effectiveness of the proposed dance video model.

Digitally manipulating memory:effects of doctored videos and imagination in distorting beliefs and memories

In prior research on false autobiographical beliefs and memories, subjects have been asked to imagine fictional events and have been exposed to false evidence that indicates that the fictional events occurred. But what are the relative contributions of imagination and false evidence toward false belief and memory construction? In the present study, subjects observed and copied various simple actions; then they viewed doctored videos that suggested that they had performed extra actions and they imagined performing some of those and some other actions. Subjects returned 2 weeks later for a memory test. False evidence or imagination alone was often sufficient to cause belief and memory distortions; in combination, they appeared to have additive or even superadditive effects. The results bear on the mechanisms underlying false beliefs and memories, and we propose legal and clinical applications of these findings. © 2009 The Psychonomic Society, Inc.