A human voice, but not human visual image makes people perceive food to taste better and to eat more: “Social” facilitation of eating in a digital media

Appetite ◽  
2021 ◽  
Vol 167 ◽  
pp. 105644
Author(s):  
Nobuyuki Kawai ◽  
Zhuogen Guo ◽  
Ryuzaburo Nakata
2019 ◽  
Vol 13 (1-2) ◽  
pp. 196-222 ◽  
Author(s):  
Arijus Pleska ◽  
Andrew Hoskins ◽  
Karen Renaud

The visual image has long been central to how war is seen, contested and legitimised, remembered and forgotten. Archives are pivotal to these ends as is their ownership and access, from state and other official repositories through to the countless photographs scattered and hidden from a collective understanding of what war looks like in individual collections and dusty attics. With the advent and rapid development of social media, however, the amateur and the professional, the illicit and the sanctioned, the personal and the official, and the past and the present, all seem to inhabit the same connected and chaotic space. However, to even begin to render intelligible the complexity, scale and volume of what war looks like in social media archives is a considerable task, given the limitations of any traditional human-based method of collection and analysis. We thus propose the production of a series of ‘snapshots’, using computer-aided extraction and identification techniques to try to offer an experimental way in to conceiving a new imaginary of war. We were particularly interested in testing to see if twentieth century wars, obviously initially captured via pre-digital means, had become more ‘settled’ over time in terms of their remediated presence today through their visual representations and connections on social media, compared with wars fought in digital media ecologies (i.e. those fought and initially represented amidst the volume and pervasiveness of social media images). To this end, we developed a framework for automatically extracting and analysing war images that appear in social media, using both the features of the images themselves, and the text and metadata associated with each image. The framework utilises a workflow comprising four core stages: (1) information retrieval, (2) data pre-processing, (3) feature extraction, and (4) machine learning. Our corpus was drawn from the social media platforms Facebook and Flickr.


2021 ◽  
Vol 36 (2) ◽  
pp. 65-97
Author(s):  
Lisa Åkervall

Abstract This essay takes the auto-tuned viral video “Can't Hug Every Cat” as a point of entry for a broader analysis of how modulation decisively shapes politics, aesthetics, and gendering in contemporary digital ecologies. It uncovers how the exaggerated exhibitions of feminine vocal modulation in “Can't Hug Every Cat” entangle with generational feminist anxieties over gendered forms of articulation such as “sexy baby voice” and “upspeak.” It argues that the problematic of the modulated voice is both technologically and thematically central to political, technological, aesthetic, and gendered genealogies of media-technical modulation. The modulated voice given such extraordinary staging in “Can't Hug Every Cat” is therefore restored to the longer history of voice modulation, which is itself closely tied to the rise of control societies and digital media. In this perspective, techniques of voice modulation and social modulation are tandem technologies. The voice modulation that has figured prominently in media cultures in recent decades—from the music of Cher to T-Pain and beyond—is not merely a consequence of digital media and control societies but is also integral to their conditions of possibility. In this light, the rise of technologies for the modulation of the human voice since the nineteenth century is intertwined with the rise of new economic, political, and medical systems of control.


2021 ◽  
Vol 2021 ◽  
pp. 1-11
Author(s):  
Tong Mao ◽  
Xunxun Jiang

Visual sensing image technology has narrowed the distance between people and art with the rapid development of digital media, but new art forms continue to appear. Therefore, this exploration is aimed at studying the application of visual image technology based on user interface (UI) and virtual reality (VR) technology in art. This exploration is to explore the development path of digital media art. The concept of UI is briefly discussed. Based on the current means of visual sensing technology, UI, visual sensing image technology, and digital media art are successfully combined after the close relationship between digital media and art is realized. The results show that VR technology, which combines UI and visual sensing technology, has good compatibility with digital media art and can further shorten the distance between digital media art and the public. Moreover, the promotion of this application can greatly increase users’ experience of VR. In addition, most people hold a more positive attitude towards this combination. It reveals that it is essential to apply UI and visual sensing image technology to digital media art.


2005 ◽  
Author(s):  
Ute-Christine Klehe ◽  
Neil R. Anderson ◽  
Esther A. E. Hoefnagels

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