scholarly journals Research on outdoor special effect device for night forest park theme park

2021 ◽  
Vol 12 (6) ◽  
pp. 653-658
Author(s):  
You-Suk Kim Et.al
Keyword(s):  
Interactive Technology ◽  
Theme Park ◽  
Visual Fatigue ◽  
Theme Parks ◽  
Media Technology ◽  
Special Effect ◽  
Special Effects ◽  
Forest Park ◽  
Media Technologies ◽  
The Media

Recently, there have been many forest park theme parks for night tours. Various media technologies are installed in these forest park theme parks. A case study was conducted to find out the purpose and use of various media technologies used in forest park theme parks at night. We divided media technology into three major types of forest park theme parks currently in operation at home and abroad. The case was analyzed by dividing the media technology into forms that used special effects for stage performances, forms with interactive technology, and forms of lighting used for the atmosphere of the theme park. The analysis of the cases with three factors has resulted in the pros and cons of the cases in each part. The advantage is that special effects, interactive technology, and theme lighting are pioneering the media market by bringing out a new type of attraction called the Forest Park Theme Park. The first solution to this was to overcome the difficulties caused by outdoor installation in nature. It was a method to maintain temperature, humidity, dust, etc. in factors such as housing of electronic electrical equipment elements and covers of lighting. Second, we found elements that do not fit in nature. Most of the factors that were not aesthetic to the use of content were artificially installed. To compensate for this, elements such as electroplate ng tubes and camouflage control boxes should be applied from the content design and spatial design stages. By optimizing the essential elements for operation and harmonizing with nature, visitors can minimize visual fatigue and maximize aesthetics. The needs and complements of the design of the forest park theme park studied in this paper deal with the areas that need to be improved for users who have come to the night tour. This is meaningful for the development of a more enjoyable and pleasant forest park theme park.

scholarly journals ОСОБИСТІСНО-ОРІЄНТОВАНА СИСТЕМА ПІДГОТОВКИ ФАХІВЦІВ ТЕХНІЧНОГО ПРОФІЛЮ З ВИКОРИСТАННЯМ МЕДІАТЕХНОЛОГІЙ

2015 ◽  
Vol 46 (2) ◽  
pp. 81
Author(s):  
Pavlo V. Savaryn
Keyword(s):  
Lifelong Learning ◽  
Educational Institution ◽  
Scientific Information ◽  
Training System ◽  
Educational Activity ◽  
Media Technology ◽  
Media Technologies ◽  
The Media ◽  
Main Components

The paper poses a problem of lifelong learning. Brief analysis of paradigms of future specialists training for their professional work is done. There has been described in detail personality-oriented training system as well as done the analysis of recent researches and publications relating to this issue. The model of personality-oriented training system in higher technical educational institution is analyzed and stressed the importance of using a variety of sources of scientific information for each student. There has been exposed and given a brief description of the essence of the “media technology” concept. The important principles for using media technologies in teacher’s educational activity are considered. The basic requirements to didactic software development using media technology as supplement are presented. It is noted the important role of the teacher of higher technical educational institution in implementing the main components of personality-oriented training system using media technologies, as well as revealed the qualities that students of higher technical educational institution should develop.

scholarly journals Media Innovations, User Innovations, Societal Innovations

2014 ◽  
Vol 1 (1) ◽  
pp. 13-27 ◽  
Author(s):  
Axel Bruns
Keyword(s):  
Media Ecology ◽  
Media Technology ◽  
Media Audiences ◽  
Media Technologies ◽  
Technology Innovations ◽  
The Status ◽  
Societal Changes ◽  
The Media ◽  
Contemporary Media ◽  
Media Practices

As the Journal of Media Innovations comes into existence, this article reflects on the first and most obvious question: just what do we mean by “media innovations”? Drawing on the examples of a range of recent innovations in media technologies and practices, initiated by a variety of media audiences, users, professionals, and providers, it explores the interplay between the different drivers of innovation and the effects of such innovation on the complex frameworks of contemporary society and the media ecology which supports it. In doing so, this article makes a number of key observations: first, it notes that media innovation is an innovation in media practices at least as much as in media technologies, and that changes to the practices of media both reflect and promote societal changes as well – media innovations are never just media technology innovations. Second, it shows that the continuing mediatisation of society, and the shift towards a more widespread participation of ordinary users as active content creators and media innovators, make it all the more important to investigate in detail these interlinked, incremental, everyday processes of media and societal change – media innovations are almost always also user innovations. Finally, it suggests that a full understanding of these processes as they unfold across diverse interleaved media spaces and complex societal structures necessarily requires a holistic perspective on media innovations, which considers the contemporary media ecology as a crucial constitutive element of societal structures and seeks to trace the repercussions of innovations across both media and society – media innovations are inextricably interlinked with societal innovations (even if, at times, they may not be considered to be improvements to the status quo).

Mediating Christianity in Contemporary Asia

2012 ◽  
Vol 18 (2) ◽  
pp. 189-203 ◽  
Author(s):  
Francis Khek Gee Lim
Keyword(s):  
New Media ◽  
Social Economic ◽  
Media Technology ◽  
Media Technologies ◽  
Christian Communities ◽  
The Media ◽  
Intimate Relations ◽  
Nuanced Understanding ◽  
Different Parts ◽  
New Media Technologies

This article aims to provide a broad survey of the intimate relations between media and Christianity in contemporary Asia by taking into account two overlapping strands of scholarship, one of technology and society, the other of religion and the media. Particular attention is given to how the invention of new media technologies causes important shifts in the ways people practice their faith and how Christian communities are formed in Asia. With the trend towards media convergence resulting in the blurring of the distinction between the ‘old’ and ‘new’ media and with people's differential access to forms of media in Asia, the article argues that an effort to achieve a more nuanced understanding of the interaction between media and Christianity in Asia has to examine how people's particular social, economic and political locations crucially influence their interpretations of various mediated Christian texts and their experiences of Christianity. Furthermore, the theological positions that Christian communities in Asia have toward diverse forms of media technology and the extent to which new media technologies are integrated into people's daily life shape the ways Christianity is practiced in different parts of Asia and the ways in which the actual contours of Christian religious boundaries are drawn.

scholarly journals Hämähäkkimiehen seikkailut ”totuuden jälkeisessä” ajassa

2020 ◽  
Vol 33 (3-4) ◽  
pp. 77-91
Author(s):  
Laura Antola
Keyword(s):  
Common Good ◽  
White Male ◽  
Point Of View ◽  
Fake News ◽  
Special Effects ◽  
The Public ◽  
Media Technologies ◽  
Alternative Facts ◽  
Current Events ◽  
The Media

Tarkastelen artikkelissani sitä, miten John Wattsin ohjaamassa elokuvassa Spider-Man: Far from Home (2019) käytetään supersankarielokuvalle tyypillisiä genrepiirteitä rakentamaan totuuden jälkeisen ajan diskurssia. Genrepiirteiden, joita ovat ainutlaatuinen sankarihahmo, korotettu realismi ja erikoistehosteet, avulla elokuvassa käsitellään mediavälitteisen sankaruuden, valeuutisten ja totuuden jälkeisen ajan teemoja. Sekä elokuvan juoni että teemat liittyvät media- ja esitysteknologioihin, mikä tekee elokuvasta kiinnostavan tutkimuskohteen mediavälitteisten tarinoiden ja valemedian analysoimiseen. Marvelin supersankarielokuvat ovat kuluneen kymmenen vuoden aikana nousseet maailman tuottoisimmaksi elokuvasarjaksi. Niissä näyttävät erikoistehosteet yhdistyvät realistisiin elementteihin, ja monet supersankarielokuvat kommentoivat yhteiskunnan tapahtumia. Far from Homessa nykyajan tunnistettava teinikulttuuri, joka pyörii mobiililaitteiden ja sosiaalisen median ympärillä, on yksi elokuvan tavoista tuoda fantastiseen tarinaan realismin piirteitä. Elokuvan antagonisti, yleisön huomiota janoava versio vihaisesta valkoisesta miehestä, käyttää mediaa hyväkseen luodakseen itsestään kuvan ainutlaatuisena sankarina, joka pystyy vastaamaan maapalloa kohtaavaan uuteen uhkaan. Valheet ja totuuden muuntelu yhdistetään elokuvassa mediateknologioihin ja erikoistehosteiden käytöllä korostetaan valheellisuutta ja totuuden muuntelua. Supersankarielokuvan genrepiirteet ovat keskeinen väline, jonka avulla elokuva osallistuu totuuden jälkeisen ajan diskurssin tuottamiseen. Pyyteetön, totuudenmukainen päähenkilö taistelee yhteisen hyvän puolesta, tarina tapahtuu meidän maailmaamme muistuttavassa korotetun realismin maailmassa ja media välittää erikoistehosteilla tuotettuja valeuutisia yleisöille.   Adventures of Spider-Man in a post-truth era: Generic conventions of superhero films in building a discourse   In this article, I analyse how generic conventions of superhero films are used in John Watts’ Spider-Man: Far from Home (2019) to build the discourse of a post-truth era. The film uses these generic conventions, including an exceptional hero, heightened realism, and special effects, to discuss the themes of mediated heroism, fake news, and a post-truth era. Both the plot and themes of the film revolve around media technologies, granting an interesting point of view to the analysis of mediated storytelling and fake media. In the past decade, Marvel’s superhero films have become the highest grossing media franchise of all time. The films combine fantastic special effects and realistic elements, and many superhero films comment on current events and the society. In Far from Home, realism is presented through e.g. the representation of current teenage culture, revolving around mobile devices and social media. The film’s antagonist is an attention-seeking version of the “angry white male” trope, who uses media to create an image of himself as a hero with exceptional abilities to stop a new threat facing the world. Lies and altering the truth are connected to media technologies in the film’s narrative, and the use of special effects highlights deceitfulness and alternative facts. Generic conventions of superhero films are central in how the film constructs the discourse of a post-truth era: an altruistic hero fighting for the common good in a world reminiscent of our own, with the media spreading fake news created by special effects to the public.

scholarly journals Educational Expectations and Media Cultures

Seminar.net ◽  
2014 ◽  
Vol 10 (1) ◽  
Author(s):  
Petra Missomelius
Keyword(s):  
Lifelong Learning ◽  
Educational Expectations ◽  
Decision Makers ◽  
Educational Resources ◽  
Educational Institutions ◽  
Media Technology ◽  
Learning Materials ◽  
Media Technologies ◽  
Learning Scenarios ◽  
The Media

This article investigates themedia-supported educational resources that arecurrently under discussion, such as OERs and MOOCs. Considering the discursive connection between these formats, which is couched in terms of educational freedom and openness, the article’sthesis is that these are expectations which are placed on the media technologies themselves, andthen transferred to learning scenarios. To this end, the article will pursue such questions as: What are the learners, learning materials and learning scenarios allegedly free from or free for? What obstructive configurations should be omitted? To what extent are these characteristics which are of a nature to guaranteelearning processes in the context of lifelong learning or can these characteristics better be attributed to the media technologies themselves and the ways in which they are used? What advantages or new accentuations are promised by proponents of theeducation supplied by media technology? Which discourses provide sustenance for such implied “post-typographic educational ideals” (Giesecke 2001 and Lemke 1998)? The importance to learners, teachers and decision-makers at educational institutions of being well informed as far as media is concerned is becoming increasingly apparent.

scholarly journals Radio via mobile phones: the intersecting logics of media technologies in Ghana

2020 ◽  
Vol 42 (5) ◽  
pp. 789-799
Author(s):  
Seyram Avle
Keyword(s):  
Mobile Phones ◽  
Media Technology ◽  
Media Technologies ◽  
History Of ◽  
Material History ◽  
The Media

This article argues that the material history of mobile phones as they took shape in Ghana reveals them to be essential parts of radio’s infrastructure; one that is social, informal, and transnational. Using the radio tuning feature on mobile phones as an emblematic device, this article unpacks the sociotechnical infrastructure underpinning radio’s continued dominance in Ghana, revealing the intersecting logics that help to sustain the media technology landscape in the country.

DYNAMIC AND COMPETENCE ASPECTS OF THE MEDIA EDUCATIONAL CONCEPT OF DEVELOPING A PERSON’S READINESS FOR LIFELONG SELF-EDUCATION

2019 ◽  
pp. 23-33
Author(s):  
S. V. Akmanova ◽  
L. V. Kurzaeva ◽  
N. A. Kopylova
Keyword(s):  
Informal Education ◽  
Great Influence ◽  
Formal Training ◽  
Life Stages ◽  
Media Technologies ◽  
Educational Concept ◽  
The Media ◽  
The Individual ◽  
Competence Models ◽  
Scientific Achievements

The harmonious existence of the individual in the modern informational era, which is overly saturated with rapidly developing media technologies, is almost impossible without the developed readiness of the individual for lifelong continuous self-education. The formation and development of this readiness can begin during the formal training at the stage of higher education of the person and continue during informal education throughout his future life. Stages of socialization and professionalization of the person have a great influence on the level nature of this readiness. Based on scientific achievements in the field of self-education of university students, national and world media education, we developed dynamic and competence models of media educational concept of developing a person’s readiness for lifelong self-education. The concept demonstrates interconnection of these two models, as well as consistency with the previously developed normative model of developing this readiness.

Disruptive Fixation

2017 ◽  
Author(s):  
Christo Sims
Keyword(s):  
New York ◽  
New York City ◽  
New Media ◽  
Media Technologies ◽  
Complex Processes ◽  
Middle Schoolers ◽  
The Social ◽  
The Media ◽  
Class Divisions ◽  
Conventional Type

In New York City in 2009, a new kind of public school opened its doors to its inaugural class of middle schoolers. Conceived by a team of game designers and progressive educational reformers and backed by prominent philanthropic foundations, it promised to reinvent the classroom for the digital age. This book documents the life of the school from its planning stages to the graduation of its first eighth-grade class. It is the account of how this “school for digital kids,” heralded as a model of tech-driven educational reform, reverted to a more conventional type of schooling with rote learning, an emphasis on discipline, and traditional hierarchies of authority. Troubling gender and racialized class divisions also emerged. The book shows how the philanthropic possibilities of new media technologies are repeatedly idealized even though actual interventions routinely fall short of the desired outcomes. It traces the complex processes by which idealistic tech-reform perennially takes root, unsettles the worlds into which it intervenes, and eventually stabilizes in ways that remake and extend many of the social predicaments reformers hope to fix. It offers a nuanced look at the roles that powerful elites, experts, the media, and the intended beneficiaries of reform—in this case, the students and their parents—play in perpetuating the cycle. The book offers a timely examination of techno-philanthropism and the yearnings and dilemmas it seeks to address, revealing what failed interventions do manage to accomplish—and for whom.

Filthy Material

2018 ◽  
Author(s):  
Chris Forster
Keyword(s):  
Twentieth Century ◽  
New Media ◽  
Twentieth Century Literature ◽  
Modernist Literature ◽  
Literary Value ◽  
Radclyffe Hall ◽  
Media Technologies ◽  
The Face ◽  
History Of ◽  
The Media

Modernist literature is inextricable from the history of obscenity. The trials of such figures as James Joyce, D. H. Lawrence, and Radclyffe Hall loom large in accounts of twentieth-century literature. Filthy Material: Modernism and the Media of Obscenity reveals the ways that debates about obscenity and literature were shaped by changes in the history of media. The emergence of film, photography, and new printing technologies shaped how “literary value” was understood, altering how obscenity was defined and which texts were considered obscene. Filthy Material rereads the history of modernist obscenity to discover the role played by technological media in debates about obscenity. The shift from the intense censorship of the early twentieth century to the effective “end of obscenity” for literature at the middle of the century was not simply a product of cultural liberalization but also of a changing media ecology. Filthy Material brings together media theory and archival research to offer a fresh account of modernist obscenity with novel readings of works of modernist literature. It sheds new light on figures at the center of modernism’s obscenity trials (such as Joyce and Lawrence), demonstrates the relevance of the discourse of obscenity to understanding figures not typically associated with obscenity debates (such as T. S. Eliot and Wyndham Lewis), and introduces new figures to our account of modernism (such as Norah James and Jack Kahane). It reveals how modernist obscenity reflected a contest over the literary in the face of new media technologies.

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