Incorporating prior knowledge on the digital media creation process into audio classifiers

Author(s):  
M. Lardeur ◽  
S. Essid ◽  
G. Richard ◽  
M. Haller ◽  
T. Sikora
Author(s):  
Paul Chilsen

We are immersed in a culture of spoken media, written media, and now irrevocably, digital screen media. Just as writing and speaking skills are keys to functioning in society, we must consider that the world increasingly demands proficiency in “mediating” as well. Doing anything less leaves this powerful medium in the hands of a relative few. By offering instruction in what digital screen media is, how it is effectively created, how the Internet continues to alter communication, and how this all informs everyday teaching and learning, digital media literacy can become more broadly understood and accessible. This chapter follows a program developed by the Rosebud Institute and looks at how—using simple, accessible technology—people can become more digital media literate by creating screen products themselves. The creation process also enables deeper, more authentic learning, allowing us all to communicate more effectively, to self-assess more reflectively, and to thrive in a screen-based world.


2019 ◽  
Vol 44 (1) ◽  
pp. 40-57
Author(s):  
MATTHEW ISAAC COHEN

Doomsayers and traditionalists prognosticate that the dominance of digital media spells the end of traditional arts in Java, Indonesia.Wayang kulit(shadow puppet theatre), while still highly regarded as theatrical heritage, is said to be under particular threat due to the long duration of its plays, complexity of language and the need for prior knowledge of characters and situations. Such features are at odds with the short attention spans and need for instant comprehension and gratification of Gen Z – the youth referred to in Indonesian media as inhabitingjaman now(literally the ‘era of now’). While digital social media, including Facebook and YouTube, definitely offer up alternative forms of entertainment and amusement, they are also being used by traditional puppet practitioners to reinforce and expand communities of practice. Facebook provides platforms for comparative discussion and critical debate, while YouTube potentiates the inclusion of a geographically dispersed audience, including overseas workers.


2018 ◽  
pp. 602-618
Author(s):  
Paul Chilsen

We are immersed in a culture of spoken media, written media, and now irrevocably, digital screen media. Just as writing and speaking skills are keys to functioning in society, we must consider that the world increasingly demands proficiency in “mediating” as well. Doing anything less leaves this powerful medium in the hands of a relative few. By offering instruction in what digital screen media is, how it is effectively created, how the Internet continues to alter communication, and how this all informs everyday teaching and learning, digital media literacy can become more broadly understood and accessible. This chapter follows a program developed by the Rosebud Institute and looks at how—using simple, accessible technology—people can become more digital media literate by creating screen products themselves. The creation process also enables deeper, more authentic learning, allowing us all to communicate more effectively, to self-assess more reflectively, and to thrive in a screen-based world.


2011 ◽  
pp. 223-245
Author(s):  
Brett Adams ◽  
Svetha Venkatesh

This chapter takes a look at the task of creating multimedia authoring tools for the amateur media creator, and the problems unique to the undertaking. It argues that a deep understanding of both the media creation process, together with insight into the precise nature of the relative strengths of computers and users, given the domain of application, is needed before this gap can be bridged by software technology. These issues are further demonstrated within the context of a novel media collection environment, including a real- world example of an occasion filmed in order to automatically create two movies of distinctly different styles. The authors hope that such tools will enable amateur videographers to produce technically polished and aesthetically effective media, regardless of their level of expertise.


Author(s):  
Selma Eduarda Pereira ◽  
Alexandra Nogueira

During the state of global emergency of the COVID-19 pandemic, online cultural events have multiplied and gained space in our lives. However, this relationship between contemporary art and digital media has been developing for decades. In this paper, the authors cover the curatorial and preparation process for the virtual pavilion The Destinies of Senses that was part of the 4th edition of the digital art biennial The Wrong, which took place from November 2019 to March 2020, bringing to discussion the curation of online exhibitions, aesthetics post-digital, and the creation process of these artists. The authors approach in more detail one of the projects that integrated the exhibition and that combines fashion production, print media, and digital art.


Author(s):  
Terri Gustafson

Visual media can be created using a plethora of software and hardware tools, including enterprise-wide deployed lecture capture system. Tools can be as simple as single click record software or require extensive knowledge of options, formats, or end-user devices. While this chapter does not cover all of the visual media creation tools available, it does give a brief overview of the tools for creating, editing, and delivering digital media content to enhance instruction.


Author(s):  
Oral Kaplan ◽  
Goshiro Yamamoto ◽  
Takafumi Taketomi ◽  
Yasuhide Yoshitake ◽  
Alexander Plopski ◽  
...  

2018 ◽  
Vol 15 (4) ◽  
pp. 176-190 ◽  
Author(s):  
Jorge Reyna ◽  
Jose Hanham ◽  
Peter Charles Meier

Across a broad range of subjects in higher education institutions, students are required to complete assessment tasks that involve the production of digital artefacts. Examples include podcasts, digital stories, animations, video and blended media. To produce effective digital artefacts, one must be digitally literate. This requires a certain set of technical, audio-visual, behavioural, critical and social skills. In this article, the authors propose a framework that can be used to develop digital media literacies and train students in digital media creation. The framework considers three interdependent domains: conceptual, functional and audio-visual. A series of examples will be provided to illustrate the importance and interdependent nature of these domains. Implications of the framework on student training are discussed.


Author(s):  
Theresa-Marie Rhyne ◽  
Nicholas (Nick) Bazarian ◽  
Jose Echevarria ◽  
Michael J. Murdoch ◽  
Danielle Feinberg
Keyword(s):  

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