Videography as production nexus : digital film cameras, media mangement and the distribution of creativity

This thesis is about new digital moving image recording technologies and how they augment the distribution of creativity and the flexibility in moving image production systems, but also impose constraints on how images flow through the production system. The central concept developed in this thesis is ‘creative space’ which links quality and efficiency in moving image production to time for creative work, capacity of digital tools, user skills and the constitution of digital moving image material. The empirical evidence of this thesis is primarily based on semi-structured interviews conducted with Swedish film and TV production representatives.This thesis highlights the importance of pre-production technical planning and proposes a design management support tool (MI-FLOW) as a way to leverage functional workflows that is a prerequisite for efficient and cost effective moving image production.

Automated digital mosaicking of airborne videography /

"FHTET 96-12."

A mozgókép reneszánsza: nagytotál a videográfia módszertanáról = The renaissance of the motion pictures: wide shot of the videography

A posztmodern fogyasztó hiperreális környezetébe csöppenő pozitivista kutató gyakran megtántorodik attól a forgószélszerű pörgéstől és vizuális dinamikától, amelyet a posztmodern világ ont rá. A szupersztrádán teknős módjára kullogó kutató ezért inkább visszahúzódik páncélja mögé, és előhúz valamit a szokásos módszerek közül, függetlenül attól, hogy azok relevánsak-e a probléma vizsgálatára vagy sem. A mozgóképek újjászületése a megváltozott fogyasztói látásmódhoz kapcsolható. Dziga Vertov mechanisztikus szemével egyre inkább a fogyasztók kacsintgatnak, és a curlingben látható módon csúsztatják tovább a magáról megfeledkező és kőnek látszó teknőst. A videográfia a videó és az etnográfia szavak összekapcsolásából keletkezett, vagyis etnográfiai kutatás a mozgókép segítségével. Egyre több nyugati cég arra kéri fel a kutatókat, hogy a fogyasztói magatartásról csupán videó prezentációt készítsenek, mindenféle szöveges magyarázat nélkül. A cikk nagytotálból mutatja be a Belk és Kozinets (2005, 2006) által életre keltett módszertan sajátosságait. / === / The positivist researcher in the middle of the hyperreal context seems to lurch due to the tornado-like whirl and a visual dynamism caused by the postmodern world. This researcher is just like a paddling tortoise on the superhighway draws back in the tortoiseshell and shows one of the classic research methods, no matter the type of the research problem. The rebirth of the motion pictures is linked to the altered consumer perspective. Dziga Vertov’s mechanical eye is used more and more by the consumers, and the tortoise-like researcher is considered to be a curling stone. The consumer researchers tend to ignore the lived visual and auditory aspects of the consumer culture and the appropriate research methods of this field. The aim of this article is to present the types and the main features of the videography vivified by Belk and Kozinets (2005, 2006).

Disaster strikes, then what? Using evaluation in narrative driven (oral history & digital storytelling) community-based projects

In 2011 Queensland suffered both floods and cyclones, leaving residents without homes and their communities in ruins (2011). This paper presents how researchers from QUT, who are also members of the Oral History Association of Australia (OHAA) Queensland’s chapter, are using oral history, photographs, videography and digital storytelling to help heal and empower rural communities around the state and how evaluation has become a key element of our research. QUT researchers ran storytelling workshops in the capital city of Brisbane i early 2011, after the city suffered sever flooding. Cyclone Yasi then struck the town of Cardwell (in February 2011) destroying their historical museum and recording equipment. We delivered an 'emergency workshop', offering participants hands on use of the equipment, ethical and interviewing theory, so that the community could start to build a new collection. We included oral history workshops as well as sessions on how best to use a video camera, digital camera and creative writing sessions, so the community would also know how to make 'products' or exhibition pieces out of the interviews they were recording. We returned six months later to conduct follow-up workshops and the material produced by and with the community had been amazing. More funding has now been secured to replicate audio/visual/writing workshops in other remote rural Queensland communities including Townsville, Mackay and Cunnamulla and Toowoomba in 2012, highlighting the need for a multi media approach, to leverage the most out of OH interviews as a mechanism to restore and promote community resilience and pride.

Gentlemen Songsters

This project was initially envisaged as a compare and contrast proposition between two performances in music venues, a year apart, at the Melbourne Ukulele Festivals 2013 and 2014. The covert intermedial incorporation of scripted, theatrical elements into an ostensibly musical performance was the initial focus. However, the opportunity arose to continue the creative practice towards a performance outcome at the Queensland Cabaret Festival at the Brisbane Powerhouse in June of 2014. This expanded project was titled ‘Gentlemen Songsters’ and enabled a refinement and honing of the event beyond what was initially planned. In addition to the composition, recording and curation of original songs, this process involved two cycles of performance, videography, transcription, re-writing and re-performance. Led by this creative practice, the research investigated the potential for sonata and song cycle as influences on performance structure, in the creation and performance of Composed Theatre. This manifested as a theatricalisation of compositional processes. Performed by ‘Tyrone and Lesley’, performance personae of David Megarrity (lyricist/composer/performer/ukulele) and Samuel Vincent (composer, musician, performer), Gentlemen Songsters played at the Brisbane Powerhouse as part of its inaugural Queensland Cabaret Festival on June 13 2014

Warmwaters

This project originated from both investigation of the musicalisation of theatre and impact of gender upon contemporary physical comedy. Developed as a ‘music first’ proposition, the initial experiment was to blend music and theatre so they were indistinguishable. Musicalising theatre, and theatricalising music. This established a covert intermediality with the potential to work in theatre or music venues. An iterative cycle of writing, performance, and videography over two years in venues ranging from small cafes to Woodford Folk Festival resulted in a full-length performance premiering at Brisbane Powerhouse’s Queensland Cabaret Festival 2015. The soundtrack to the show was recorded as a full-length album at QUT’s Gasworks Studio and released in 2014. It’s become clear that male/female musical comedy acts are an extremely rare pairing. Certain preconceptions about gender and comedy complicate the field; indeed the comic tropes of the double act which the Warmwaters flow around and through. Brian Logan (2011) even poses that “the male-female dynamic militate[s] against comedy”. This performance-led research draws on Comedy Studies to examine three classic formulations of the comic duo as they are manifested at critical incidents in the Warmwaters’ show. These moments are examined in terms of comic functionality and gender, evaluating and potentially reformulating them, whilst working towards a better understanding of the relative scarcity of the male/female musical comedy duo. Prototypes have been performed in various venues, utilising performance as research: cycles in which discoveries made during unpredictable gigs in music venues are captured on video, transcribed, rewritten, then fed back into live performance.

Biomechanics of Substrate Boring by Fig Wasps: Role of Zinc in Insect Cuticle

There are many biomechanical challenges that a female insect must meet to successfully oviposit and ensure her evolutionary success. These begin with selection of a suitable substrate through which the ovipositor must penetrate without itself buckling or fracturing. The second phase corresponds to steering and manipulating the ovipositor to deliver eggs at desired locations. Finally, the insect must retract her ovipositor fast to avoid possible predation and repeat this process multiple times during her lifetime. From a materials perspective, insect oviposition is a fascinating problem and poses many questions. Specifically, are there diverse mechanisms that insects use to drill through hard substrates without itself buckling or fracturing? What are the structure-property relationships in the ovipositor material? These are some of the questions we address with a model system consisting of a parasitoid fig wasp - fig substrate system. To characterize the structure of ovipositors, we use scanning electron microscopy with a detector to quantify the presence of transition elements. Our results show that parasitoid ovipositors have teeth like structures on their tips and contain high amounts of zinc as compared to remote regions. Sensillae are present along the ovipositor to aid detection of chemical species and mechanical deformations. To quantify the material properties of parasitoid ovipositors, we use an atomic force microscope and show that tip regions have higher modulus as compared to remote regions. Finally, we use videography to show that ovipositors buckle during oviposition and estimate the forces needed to cause substrate boring based on Euler buckling analysis. Such methods may be useful for the design of functionally graded surgical tools.

Biomechanics of substrate boring by fig wasps

Female insects of diverse orders bore into substrates to deposit their eggs. Such insects must overcome several biomechanical challenges to successfully oviposit, which include the selection of suitable substrates through which the ovipositor can penetrate without itself fracturing. In many cases, the insect may also need to steer and manipulate the ovipositor within the substrate to deliver eggs at desired locations before rapidly retracting her ovipositor to avoid predation. In the case of female parasitoid ichneumonid wasps, this process is repeated multiple times during her lifetime, thus testing the ability of the ovipositioning apparatus to endure fracture and fatigue. What specific adaptations does the ovipositioning apparatus of a female ichneumonoid wasp possess to withstand these challenges? We addressed this question using a model system composed of parasitoid and pollinator fig wasps. First, we show that parasitoid ovipositor tips have teeth-like structures, preferentially enriched with zinc, unlike the smooth morphology of pollinator ovipositors. We describe sensillae present on the parasitoid ovipositor tip that are likely to aid in the detection of chemical species and mechanical deformations and sample microenvironments within the substrate. Second, using atomic force microscopy, we show that parasitoid tip regions have a higher modulus compared with regions proximal to the abdomen in parasitoid and pollinator ovipositors. Finally, we use videography to film wasps during substrate boring and analyse buckling of the ovipositor to estimate the forces required for substrate boring. Together, these results allow us to describe the biomechanical principles underlying substrate boring in parasitoid ichneumonid wasps. Such studies may be useful for the biomimetic design of surgical tools and in the use of novel mechanisms to bore through hard substrates.

Light Reflectance Characteristics and Remote Sensing of Waterlettuce

Waterlettuce ( Pistia stratiotes L.) is a free-floating exotic aquatic weed that often invades and clogs waterways in the southeastern United States. A study was conducted to evaluate the potential of using remote sensing technology to distinguish infestations of waterlettuce in Texas waterways. Field reflectance measurements showed that waterlettuce had higher visible green reflectance than associated plant species. Waterlettuce could be detected in both aerial color- infrared (CIR) photography and videography where it had light pink to pinkish-white image tonal responses. Computer analysis of CIR photographic and videographic images had overall accuracy assessments of 86% and 84%, respectively. (PDF contains 6 pages.)

Using Remote Sensing and Spatial Information Technologies to Detect and Map Two Aquatic Macrophytes

This paper describes the light reflectance characteristics ofwaterhyacinth [Eichhornia crassipes (Mort.) Solms] and hydrilla [Hydrilla verticillata (L.F.) Royle] and the application of airborned videography with global positioning system (GPS) and geographic information system (GIS) technologies for distinguishing and mapping the distribution of these two aquatic weeds in waterways of southern Texas. Field reflectance measurements made at several locations showed that waterhyacinth generally had higher near-infrared (NIR) reflectance than associated plant species and water. Hydrilla had lower NIR reflectance than associated plant species and higher NIR reflectance than water. Reflectance measurements made on hydrilla plants submerged below the water surface had similar spectral characteristics to water. Waterhyacinth and hydrilla could be distinguished in color-infrared (CIR) video imagery where they had bright orange-red and reddish-brown image responses, respectively. Computer analysis of the imagery showed that waterhyacinth and hydrilla infestaions could be quantified. An accuracy assessment performed on the classified image showed an overall accuracy of 87.7%. Integration of the GPS with the video imagery permitted latitude/longitude coordinates of waterhyacinth and hydrilla infestation to be recorded on each image. A portion of the Rio Grande River in extreme southern Texas was flown with the video system to detect waterhyacinth and hydrilla infestaions. The GPS coordinates on the CIR video scenes depicting waterhyacinth and hydrilla infestations were entered into a GIS to map the distribution of these two noxious weeds in the Rio Grande River.

Coral Remote Sensing Workshop: Proceedings and Recommendations, 17-18 September, Sheraton, Brickell Ave, Miami FL

Coral reefs exist in warm, clear, and relatively shallow marine waters worldwide. These complex assemblages of marine organisms are unique, in that they support highly diverse, luxuriant, and essentially self-sustaining ecosystems in otherwise nutrient-poor and unproductive waters. Coral reefs are highly valued for their great beauty and for their contribution to marine productivity. Coral reefs are favorite destinations for recreational diving and snorkeling, as well as commercial and recreational fishing activities. The Florida Keys reef tract draws an estimated 2 million tourists each year, contributing nearly $800 million to the economy. However, these reef systems represent a very delicate ecological balance, and can be easily damaged and degraded by direct or indirect human contact. Indirect impacts from human activity occurs in a number of different forms, including runoff of sediments, nutrients, and other pollutants associated with forest harvesting, agricultural practices, urbanization, coastal construction, and industrial activities. Direct impacts occur through overfishing and other destructive fishing practices, mining of corals, and overuse of many reef areas, including damage from souvenir collection, boat anchoring, and diver contact. In order to protect and manage coral reefs within U.S. territorial waters, the National Oceanic and Atmospheric Administration (NOAA) of the U.S. Department of Commerce has been directed to establish and maintain a system of national marine sanctuaries and reserves, and to monitor the condition of corals and other marine organisms within these areas. To help carry out this mandate the NOAA Coastal Services Center convened a workshop in September, 1996, to identify current and emerging sensor technologies, including satellite, airborne, and underwater systems with potential application for detecting and monitoring corals. For reef systems occurring within depths of 10 meters or less (Figure 1), mapping location and monitoring the condition of corals can be accomplished through use of aerial photography combined with diver surveys. However, corals can exist in depths greater than 90 meters (Figure 2), well below the limits of traditional optical imaging systems such as aerial or surface photography or videography. Although specialized scuba systems can allow diving to these depths, the thousands of square kilometers included within these management areas make diver surveys for deeper coral monitoring impractical. For these reasons, NOAA is investigating satellite and airborne sensor systems, as well as technologies which can facilitate the location, mapping, and monitoring of corals in deeper waters. The following systems were discussed as having potential application for detecting, mapping, and assessing the condition of corals. However, no single system is capable of accomplishing all three of these objectives under all depths and conditions within which corals exist. Systems were evaluated for their capabilities, including advantages and disadvantages, relative to their ability to detect and discriminate corals under a variety of conditions. (PDF contains 55 pages)

A video method for quantifying size distribution, density, and three-dimensional spatial structure of reef fish spawning aggregations

There is a clear need to develop fisheries independent methods to quantify individual sizes, density, and three dimensional characteristics of reef fish spawning aggregations for use in population assessments and to provide critical baseline data on reproductive life history of exploited populations. We designed, constructed, calibrated, and applied an underwater stereo-video system to estimate individual sizes and three dimensional (3D) positions of Nassau grouper (Epinephelus striatus) at a spawning aggregation site located on a reef promontory on the western edge of Little Cayman Island, Cayman Islands, BWI, on 23 January 2003. The system consists of two free-running camcorders mounted on a meter-long bar and supported by a SCUBA diver. Paired video “stills” were captured, and nose and tail of individual fish observed in the field of view of both cameras were digitized using image analysis software. Conversion of these two dimensional screen coordinates to 3D coordinates was achieved through a matrix inversion algorithm and calibration data. Our estimate of mean total length (58.5 cm, n = 29) was in close agreement with estimated lengths from a hydroacoustic survey and from direct measures of fish size using visual census techniques. We discovered a possible bias in length measures using the video method, most likely arising from some fish orientations that were not perpendicular with respect to the optical axis of the camera system. We observed 40 individuals occupying a volume of 33.3 m3, resulting in a concentration of 1.2 individuals m–3 with a mean (SD) nearest neighbor distance of 70.0 (29.7) cm. We promote the use of roving diver stereo-videography as a method to assess the size distribution, density, and 3D spatial structure of fish spawning aggregations.

Cinema para paisagens: o espaço-tempo da exibição audiovisual como dimensão estética e criativa

A busca do homem pela reprodução do movimento através das imagens é antiga. Tão antiga que é difícil fixar uma data para marcar a invenção do cinema. Para a indústria cinematográfica comercial, no entanto, esse marco costuma ser definitivo: o dia 28 de dezembro de 1895, por ocasião da primeira exibição pública paga de filmes dos Irmãos Lumiére com seu cinematógrafo. Mas o que parece ser inaugurado aí não é simplesmente uma técnica ilusória de reprodução do movimento, e sim um conceito de espetáculo que se sedimentou durante os dez ou vinte anos seguintes. Graças a interesses econômicos e ideológicos, o cinema passou de um exercício de escrita do movimento com a luz, para uma gramática muito bem sedimentada e padronizada. Junto com esse modelo de narrativa, determinou-se também a situação-cinema. Nela, o público é submetido a uma arquitetura de espectação estanque, que favorece a inatividade motora e a concentração na obra em detrimento da interação social e de uma postura participativa do espectador. Desde o surgimento da televisão e da videografia, porém, essa situação-cinema vem sendo contestada. Com essas novas tecnologias, seguidas pelo advento dos aparatos digitais, o audiovisual deixou de estar confinado às salas escuras, poltronas confortáveis e telas brancas. Todo e qualquer ambiente passou a ser uma paisagem de exibição audiovisual em potencial. Essa ruptura, por suas características estéticas, sociais, culturais, acabou encontrando na arte um campo de expansão. Ao longo dos últimos sessenta anos, a quantidade de aparelhos audiovisuais em circulação, portáteis, interativos só cresce. O resultado é que o audiovisual se tornou nosso principal meio para trocas de informações de toda ordem textual, visual, sonora etc. No seu dia-a-dia, o ser humano transita velozmente entre espaço físico e ciberespaço sem qualquer constrangimento. A materialidade é sempre um estímulo para acessar a virtualidade e vice-versa. Diante desse contexto cultural contemporâneo, de onipresença do audiovisual e de permanente troca entre essas duas janelas, é que este trabalho se posiciona. A busca aqui é por desvendar o ponto em que as duas dimensões de espaço e tempo se tangenciam e se mesclam. Deixam de ser ou para se tornar e. O pano de fundo para esse mergulho é justamente um exercício de exploração da potencialidade estética e criativa da exibição audiovisual entre todos os seus elementos constitutivos, incluindo aí o espectador participador. Assim se criam os cinemas para paisagens

The musical enculturation of Irish traditional musicians: An ethnographic study of learning processes

The enculturation of Irish traditional musicians involves informal, non-formal, and sometimes formal learning processes in a number of different settings, including traditional music sessions, workshops, festivals, and classes. Irish traditional musicians also learn directly from family, peers, and mentors and by using various forms of technology. Each experience contributes to the enculturation process in meaningful and complementary ways. The ethnographic research discussed in this dissertation suggests that within Irish traditional music culture, enculturation occurs most effectively when learners experience a multitude of learning practices. A variety of experiences insures that novices receive multiple opportunities for engagement and learning. If a learner finds one learning practice ineffective, there are other avenues of enculturation. This thesis explores the musical enculturation of Irish traditional musicians. It focuses on the process of becoming a musician by drawing on methodologies and theories from ethnomusicology, education, and Irish traditional music studies. Data was gathered through multiple ethnographic methodologies. Fieldwork based on participant-observation was carried out in a variety of learning contexts, including traditional music sessions, festivals, workshops, and weekly classes. Additionally, interviews with twenty accomplished Irish traditional musicians provide diverse narratives and firsthand insight into musical development and enculturation. These and other methodologies are discussed in Chapter 1. The three main chapters of the thesis explore various common learning experiences. Chapter 2 explores how Irish traditional musicians learn during social and musical interactions between peers, mentors, and family members, and focuses on live music-making which occurs in private homes, sessions, and concerts. These informal and non-formal learning experiences primarily take place outside of organizations and institutions. The interview data suggests these learning experiences are perhaps the most pervasive and influential in terms of musical enculturation. Chapter 3 discusses learning experience in more organized settings, such as traditional music classes, workshops, summer schools, and festivals. The role of organizations such as Comhaltas Ceoltóirí Éireann and pipers’ clubs are discussed from the point of view of the learner. Many of the learning experiences explored in this chapter are informal, non-formal, and sometimes formal in nature, depending on the philosophy of the organization, institution, and individual teacher. The interview data and field observations indicate that learning in these contexts is common and plays a significant role in enculturation, particularly for traditional musicians who were born during and after the 1970s. Chapter 4 explores the ways Irish traditional musicians use technology, including written sources, phonography, videography, websites, and emerging technologies, during the enculturation process. Each type of technology presents different educational implications, and traditional musicians use these technologies in diverse ways and some more than others. For this, and other reasons, technology plays a complex role during the process of musical enculturation. Drawing on themes which emerge during Chapter 2, 3, and 4, the final chapter of this dissertation explores overarching patterns of enculturation within Irish traditional music culture. This ethnographic work suggests that longevity of participation and engagement in multiple learning and performance opportunities foster the enculturation of Irish traditional musicians. Through numerous and prolonged participation in music-making, novices become accustomed to and learn musical, social, and cultural behaviours. The final chapter also explores interconnections between learning experiences and also proposes directions for future research.