In the midst of confusion : da dança em cinema e da adaptação de dança para o ecrã: processos de criação intermediais: trabalho de projecto

Trabalho de Projeto submetido à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Desenvolvimento de Projeto Cinematográfico - especialização em Dramaturgia e Realização

Is YouTube telling or selling you something? Tobacco content on the YouTube video sharing website

The effectiveness of overt tobacco advertising and sponsorship bans is well established. The industry has responded to these bans by implementing “buzz” or “viral” marketing techniques, such as nightclub and dance party promotions. This paper analyses possible tobacco industry content on the burgeoning consumer generated media website, YouTube. Tobacco control efforts need to embrace this new medium in order to counter pro-smoking messages and maximize media advocacy opportunities.

People and object tracking for video annotation

Dissertação para obtenção do Grau de Mestre em Engenharia Informática

Video interaction using pen-based technology

Dissertação para obtenção do Grau de Doutor em Informática

'What ever happened to breakdancing?' : transnational b-boy/b-girl networks, underground video magazines and imagined affinities

In 1997, Paul Gilroy was able to write: "I have been asking myself, whatever happened to breakdancing" (21), a form of vernacular dance associated with urban youth that emerged in the 1970s. However, in the last decade, breakdancing has experienced a massive renaissance in movies (You Got Served), commercials ("Gotta Have My Pops!") and documentaries (the acclaimed Freshest Kids). In this thesis, 1 explore the historical development of global b-boy/bgirl culture through a qualitative study involving dancers and their modes of communication. Widespread circulation of breakdancing images peaked in the mid-1980s, and subsequently b-boy/b-girl culture largely disappeared from the mediated landscape. The dance did not reemerge into the mainstream of North American popular culture until the late 1990s. 1 argue that the development of major transnational networks between b-boys and b-girls during the 1990s was a key factor in the return of 'b-boying/b-girling' (known formerly as breakdancing). Street dancers toured, traveled and competed internationally throughout this decade. They also began to create 'underground' video documentaries and travel video 'magazines.' These video artefacts circulated extensively around the globe through alternative distribution channels (including the backpacks of traveling dancers). 1 argue that underground video artefacts helped to produce 'imagined affinities' between dancers in various nations. Imagined affinities are identifications expressed by a cultural producer who shares an embodied activity with other practitioners through either mediated texts or travels through new places. These 'imagined affinities' helped to sustain b-boy/b-girl culture by generating visual/audio representations of popularity for the dance movement across geographical regions.

Dylan Walsh - dance : art, mourning, archive.

Cet essai envisage le deuil du point de vue d’un homme endeuillé. Sur la base de ma propre expérience de deuil, j’ai questionné les théories freudiennes sur le sujet. Face aux théories derridiennes sur l’archive, je me positionne non pas comme un archiviste professionnel mais comme une personne endeuillée trouvée engagée dans un processus d’archivage. Au regard de la psychanalyse et de l’archive, ce texte n’entend ni ne prétend avancer de nouvelles théories sans prendre en compte leurs histoires respectives. Ce texte propose une étude comparée pour une tentative de définitions à la lumière d’une expérience personnelle. Ces questions seront finalement mises à l’épreuve dans le monument performatif audio-visuel Dylan Walsh – dance.

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.

Metodo de sincronização de cameras de video utilizando a banda de audio

Universidade Estadual de Campinas . Faculdade de Educação Física

Metodologia para descrição tridimensional do movimento humano a partir de cameras de video não sincronizadas

Universidade Estadual de Campinas. Faculdade de Educação Física

Corpo-movimento-deficiencia : as formas dos discursos da/na dança em cadeira de rodas e seus processos de significação

Universidade Estadual de Campinas. Faculdade de Educação Física

LEARNING A COMPLEX MOTOR SKILL FROM VIDEO AND POINT-LIGHT DEMONSTRATIONS

The aim of this Study was to compare the learning process of a highly complex ballet skill following demonstrations of point light and video models 16 participants divided into point light and video groups (ns = 8) performed 160 trials of a pirouette equally distributed in blocks of 20 trials alternating periods of demonstration and practice with a retention test a day later Measures of head and trunk oscillation coordination d1 parity from the model and movement time difference showed similarities between video and point light groups ballet experts evaluations indicated superiority of performance in the video over the point light group Results are discussed in terms of the task requirements of dissociation between head and trunk rotations focusing on the hypothesis of sufficiency and higher relevance of information contained in biological motion models applied to learning of complex motor skills

A New Approach for Video Adaptation through Overlay Services Networks

Video adaptation is an extensively explored content providing technique aimed at appropriately suiting several usage scenarios featured by different network requirements and constraints, user`s terminal and preferences. However, its usage in high-demand video distribution systems, such as CNDs, has been badly approached, ignoring several aspects of optimization of network use. To address such deficiencies, this paper presents an approach for implementing the adaptation service by exploring the concept of overlay services networks. As a result of demonstrate the benefits of this proposal, it is made a comparison of this proposed adaptation service with other strategies of video adaptation.

Megan Henderson and Gay Walkington in Wattle Dance Group, Christmas 1968

Megan Henderson and Gay Walkington in Wattle Dance Group, Christmas 1968. The Wattle Dance Group met every Saturday in the Trades Hall, Brisbane, Australia. They held an concert at the end of each year. Janet Henderson was the mainstay and taught along with a few others. Jean Leary was the pianist. She took over from Eva Bacon.

June Hill in Wattle Dance Group, Christmas 1968

June Hill in Wattle Dance Group, Christmas 1968. The Wattle Dance Group met every Saturday in the Trades Hall, Brisbane, Australia. They held an concert at the end of each year. Janet Henderson was the mainstay and taught along with a few others. Jean Leary was the pianist. She took over from Eva Bacon.

Julie Walkington and Karlin Bracegirdle in Wattle Dance Group, Christmas 1968

Julie Walkington and Karlin Bracegirdle in Wattle Dance Group, Christmas 1968. The Wattle Dance Group met every Saturday in the Trades Hall, Brisbane, Australia. They held an concert at the end of each year. Janet Henderson was the mainstay and taught along with a few others. Jean Leary was the pianist. She took over from Eva Bacon.