Modeling Interaction and Media Objects

Author(s):  
Klaus-Dieter Schewe ◽  
Bernhard Thalheim
Keyword(s):  
Author(s):  
А.П. Птичникова ◽  
О.В. Королева ◽  
О.В. Черничкина

Статья посвящена исследованию проблем интеграции объектов медиаархитектуры в сложившееся городское пространство. Являясь частью нового, творческого и интеллектуального обогащения городской среды, медиаархитектура оказывает значительное культурное, социальное и экологическое влияние на городское окружение. Целью работы являются определение и классификация проблем, связанных с негативным воздействием объектов медиаархитектуры на окружающую среду в контексте общественных пространств, а также ночной городской среды. The article is devoted to the study of the problems of integration of media objects in the existing urban space. As part of a new, creative and intellectual enrichment of the urban environment, the media architecture has a significant cultural, social and environmental impact on the urban environment. The aim of the work is to identify and classify the problems associated with the negative impact of media architecture objects on the environment in the context of public spaces, as well as the night city environment.


Leonardo ◽  
2012 ◽  
Vol 45 (5) ◽  
pp. 424-430 ◽  
Author(s):  
Garnet Hertz ◽  
Jussi Parikka

This text is an investigation into media culture, temporalities of media objects and planned obsolescence in the midst of ecological crisis and electronic waste. The authors approach the topic under the umbrella of media archaeology and aim to extend this historiographically oriented field of media theory into a methodology for contemporary artistic practice. Hence, media archaeology becomes not only a method for excavation of repressed and forgotten media discourses, but extends itself into an artistic method close to Do-It-Yourself (DIY) culture, circuit bending, hardware hacking and other hacktivist exercises that are closely related to the political economy of information technology. The concept of dead media is discussed as “zombie media”—dead media revitalized, brought back to use, reworked.


1998 ◽  
Vol 10 (3) ◽  
pp. 433-457 ◽  
Author(s):  
K.S. Candan ◽  
P.V. Rangan ◽  
V.S. Subrahmanian

10.16993/baq ◽  
2018 ◽  

The Power of the In-Between: Intermediality as a Tool for Aesthetic Analysis and Critical Reflection gathers fourteen individual case studies where intermedial issues—issues concerning that which takes place in between media—are explored in relation to a range of different cultural objects and contexts, different methodological approaches, and different disciplinary perspectives. The cases investigate the intermediality of such manifold objects and phenomena as contemporary installation art, twentieth-century geography books, renaissance sculpture, media theory, and public architecture of the 1970s. They also bring together scholars from the disciplines of art history, comparative literature, theatre studies, musicology, and the history of ideas.Starting out from an inclusive understanding of intermediality as “relations between media conventionally perceived as different,” each author specifies and investigates “intermediality” in their own particular case; that is, each examines how it is inflected by particular objects, methods, and research questions. “Intermediality” thus serves both as a concept employed to cover an inclusive range of cultural objects, cultural contexts, methodological approaches, and so on, and as a concept to be modelled out by the particular cases it is brought to bear on. Rather than merely applying a predefined concept, the objectives are experimental. The authors explore the concept of intermediality as a malleable tool of research.This volume further makes a point of transgressing the divide between media history and semiotically and/or aesthetically oriented intermedial studies. The former concerns the specificity of media technologies and media interrelations in socially, politically, and epistemologically defined space and time, and the latter targets formal considerations of media objects and its various meaning-making elements. These two conventionally separated fields of research are integrated in order to produce a richer understanding of the analytical and historical, as well as the aesthetic and technological, conditions and possibilities of intermedial phenomena.


Author(s):  
Kaoru Katayama ◽  
Osami Kagawa ◽  
Yasuhiro Kamiya ◽  
Hideki Tsushima ◽  
Takuya Yoshihiro ◽  
...  

2004 ◽  
pp. 34-70 ◽  
Author(s):  
Klaus-Dieter Schewe ◽  
Bernhard Thalheim

In this chapter, a conceptual modeling approach to the design of web information systems (WIS) will be outlined. The notion of media type is central to this approach. Basically, a media type is defined by a view on an underlying database schema, which allows us to transform the data content of a database into a collection of media objects that represent the data content presented at the web interface. The view is extended by operations and an adaptivity mechanism, which permits the splitting of media objects into several smaller units in order to adapt the WIS to different user preferences, technical environments and communication channels. The information entering the design of media types is extracted from a previous story boarding phase. In consecutive phases, media types have to be extended by style patterns as the next step toward implementation.


Author(s):  
Neil C. Rowe

Captions are text that describes some other information; they are especially useful for describing nontext media objects (images, audio, video, and software). Captions are valuable metadata for managing multimedia, since they help users better understand and remember (McAninch, Austin, & Derks, 1992-1993) and permit better indexing of media. Captions are essential for effective data mining of multimedia data, since only a small amount of text in typical documents with multimedia—1.2% in a survey of random World Wide Web pages (Rowe, 2002)—describes the media objects. Thus standard Web browsers do poorly at finding media without knowledge of captions. Multimedia information is increasingly common in documents as computer technology improves in speed and ability to handle it, and people need multimedia for a variety of purposes like illustrating educational materials and preparing news stories. Captions are also valuable because nontext media rarely specify internally the creator, date, or spatial and temporal context, and cannot convey linguistic features like negation, tense, and indirect reference. Furthermore, experiments with users of multimediaretrieval systems show a wide range of needs (Sutcliffe, Hare, Doubleday, & Ryan, 1997), but a focus on media meaning rather than appearance (Armitage & Enser, 1997). This suggests that content analysis of media is unnecessary for many retrieval situations, which is fortunate, because it is often considerably slower and more unreliable than caption analysis. But using captions requires finding them and understanding them. Many captions are not clearly identified, and the mapping from captions to media objects is rarely easy. Nonetheless, the restricted semantics of media and captions can be exploited.


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