Multimedia Learning Model: Adapting an Image in a Screen Work

2019 ◽  
Vol 11 (4) ◽  
pp. 90-96
Author(s):  
Elena YAremenko

In the context of media space digitalization, issues of using multimedia in audiovisual works and in screen arts become increasingly important. Evolutionary processes in audiovisual production form a new system of expressive means, determine the scope of modern multimedia, transforming them into a new communicative space. The article notes that the gap between the intensity of the introduction of this type of creativity and lack of theoretical justification of the process is due to the rapid formation of a new artistic environment, its adaptation and relevance. The purpose of the article is to analyze the exploration of the new type of communicative space, change and adapt the art form when introducing multimedia into the movie plot. The author gives a generalized description of the interaction of the viewer with a work of art, equipped with elements of interactivity, which is represented in the creative dialogue of the artist and the consumer. But the design format involves fundamental knowledge in the field of cinema and practical skills when using technologies in screen arts. In the section on practical techniques for implementing multimedia, the author focuses on the short stories developed by the teachers of the Department of Animation and Computer Graphics for training multimedia directors at VGIK. Taking the work of VGIK students as an example, the article substantiates the integration of theoretical knowledge and practical skills in teaching students whose training is based on common and fine culture in combination with the skills of using digital technology. The article touches upon the education of a multimedia director an auteur and professional, capable of realizing their plan with audiovisual means involving the transformation of screen time and space, which is a difficult but important educational task in digital time.

Author(s):  
Katherine Thomson-Jones

Human beings have always made images, and to do so they have developed and refined an enormous range of artistic tools and materials. With the development of digital technology, the ways of making images—whether they are still or moving, 2D or 3D—have evolved at an unprecedented rate. At every stage of image making, artists now face a choice between using analog and using digital tools. Yet a digital image need not look digital; and likewise, a handmade image or traditional photograph need not look analog. If we do not see the artist’s choice between the analog and the digital, what difference can this choice make for our appreciation of images in the digital age? Image in the Making answers this question by accounting for the fundamental distinction between the analog and the digital; by explicating the technological realization of this distinction in image-making practice; and by exploring the creative possibilities that are distinctive of the digital. The case is made for a new kind of appreciation in the digital age. In appreciating the images involved in every digital art form—from digital video installation to net art to digital cinema—there is a basic truth that we cannot ignore: the nature and technology of the digital expands both what an image can be as an image and what an image can be for us.


2021 ◽  
Vol 9 (SPE2) ◽  
Author(s):  
Svetlana Strokina ◽  
Lenie Taymazova ◽  
Elvina Useinova ◽  
Ruslan Adonin

1922-1924 was a fruitful period of Maxim Gorky's literature work. It is related to searching a new art form. The cycle “Stories of 1922-1924” is an expressive example of “new prose”. For the first time, the hermit character appeared in the cycle “Stories of 1922-1924”. From the point of view of generally recognized morality and the Church, the new type of character is ambiguous. It is characterized by both sinfulness and holiness.


Author(s):  
Raphael DiLuzio

This is a guide for working with a visual art form using a digital time-based medium. This chapter will provide an overview of the necessary theories; processes, concepts and most important the “elements,” needed to create expressive visual artworks through the technologies associated with this visual art form. It will examine in some detail how people can effectively visually communicate and express our artistic ideas and intentions through a digitally time-based medium. We have reached a point in time-based visual art where the tools and technology have matured enough to allow us to focus our attention more on process and concept rather than specific hardware or software tools. Please understand that more than a theorist, the author is a practitioner of the art form that he will discuss in the following pages. As such, at times, the author will be using his own empirical experience to support arguments in combination with or in place of the opinions of others. The ideas this chapter would like to address are rather complex and there is not enough space in a single chapter to put them forth in their entirety. Therefore, by necessity the atuhor will have to be brief, somewhat simplified, and a bit reductive. Nonetheless, he hopes it provides a basic understanding of the concepts and principles for creating visual art with a digital time-based medium.


2021 ◽  
Vol 5 (1) ◽  
pp. 22-26
Author(s):  
Aka Kurnia

This study aims to meet the needs of an effective and learning systemefficient amid the Covid-19 pandemic. As is known, Coronavirus Disease 2019or Covid-19 is a new type of virus that disrupts the respiratory system,acute pneumonia, causing death. There is concern over the sizethe risk that this creates affects the education sector, namely bythe presence of digital technology-based educational innovations, which replace all formsactivities at school are carried out online (online). Although aiming tofulfill and facilitate the learning process from home, precisely in its applicationstill raises several problems, particularly the ineffectiveness and efficiency of activitieslearning. This study uses a descriptive approachqualitative, where what is collected is in the form of opinions, information not numbers, conceptsand information in the form of description to describe andinterpret an object as it is. The results showed that,one of the effects of the Covid-19 pandemic on the education sector at SMAN 1 Empangare taken several policies in the form of disabling activities at school andapply online learning (online) via Whatsapp, Zoom,Cloud Meeting, and Short Message Service (SMS). If needed, learn toocan be done offline, one of which is that the teacher comes to students directly toprovide motivation to learn to students. However, this has implications forLess effective and efficient learning systems due to insufficient time andalso the amount of costs incurred, so that the policy is still not optimalimplemented. Based on several learning methods used at the timeThe Covid-19 pandemic resulted in the most effective learning methodsis to use the online method through Zoom media and Cloud Meeting.So it can be concluded that this method is an effective method and canimplemented at SMAN 1 Empang during the pandemic.


Author(s):  
E. A. Sayko ◽  
◽  
O. V. Shlykova ◽  

The article examines the dynamics of media culture in relation to modern trends in media and digital consumption of cultural and educational content in Russia. The emphasis is placed on the demand for books and reading in the everyday culture of Russians (including audio and electronic versions of books on Internet resources). Everything that is outside the media space practically does not exist for many Internet users — there is only what is “read”, mastered in a media format today. The literary preferences of our contemporaries during the pandemic are considered in the article in relation to popular forms of leisure, taking into account the influence of digitalization processes. Attention is drawn to the fact that, on the one hand, there are processes of activating the use of open resources, on the other — the production of a new type of content of cultural and leisure activities and social interaction. This is evidenced by the indicators of consumption of digital educational resources and services, online podcasts, broadcasts in the context of a pandemic.


2020 ◽  
Vol 4 (1) ◽  
pp. 45-58
Author(s):  
Rob Doggett

As people who love and admire Yeats, we need to reckon with the fact that digital technology is profoundly transforming the ways that readers encounter and thus experience his poetry. I’ll begin on a mostly pessimistic note, arguing that digital media tends to encourage a mode of reading that is oriented toward the acquisition of practical knowledge and, in so doing, works to undercut the type of aesthetic experience that many of us traditionally associate with reading poetry. Next, I’ll briefly mention the lessons that we can learn from Yeats’s own efforts to use a new mass communication technology, radio, to encourage the public to see poetry as a living and communal form of art—which for him meant teaching people to appreciate those aural aesthetic qualities that are most apparent when a poem is chanted, sung, or read aloud. Finally, I’ll return to the relationship between Yeats’s poetry and digital technology in the present, offering a more hopeful take in which I’ll sketch out some of the ways that teachers can use digital tools to foster a mode of reading that, instead of fixating on practical knowledge, opens students up to the types of profound questions that this art form can evoke. Building on Marjorie Perloff’s work, this is a form of aesthetically-engaged reading that begins with the recognition “that a poem …is a made thing—contrived, constructed, chosen—and that its reading is also a construction on the part of the audience.”1


2021 ◽  
Vol 258 ◽  
pp. 10019
Author(s):  
Elena Razinkina ◽  
Elena Zima ◽  
Elena Pozdeeva ◽  
Lidiya Evseeva ◽  
Anna Tanova

In the digital age, a modern university is becoming a driver for the development of complex multi-agent ecosystems and a supplier of a new type of human resources, characterized not only by intellectual potential and high qualifications but also by such qualities in demand in the labor market as creativity, critical thinking, the need for continuous learning and “agency”, which is understood as the ability to self-organize and proactivity [1]. The education system and universities themselves face challenges that force us to turn to the once-actual ideas of integration and convergence, which can fulfill the increased need to achieve synergy effects and multiplier indicators that contribute to achieving high ratings in a short time. It is convergent processes that lie at the heart of the developing communicative space of the university today, whose activities are based on the intersection of the interests and expectations of various actors, which are implemented on multi-agent platforms. At the same time, the opportunities that are opening up due to the rapid introduction of digital technologies require restructuring the space of interactions between subjects towards the formation of flexible forms, network models, alliances, virtual corporations, connecting clusters built on the principles of active cooperation, exchange of best practices and developments.


Author(s):  
Tetyana Sovgyra

Purpose of the Article. The study is related to the study of the current state of culture and best practices in using the latest digital technologies in the cultural and artistic process. The author analyzes the specifics of the works created through the use of "artificial intelligence" technology. The methodology is based on an integrated approach and analytical (in the analysis of philosophical, art history, cultural literature on the subject of research), historical (in clarifying the stages of the formation of algorithmic art as a modern art form) and conceptual (in analyzing and characterizing the conceptual and terminological research system) research methods. The scientific novelty lies in the fact that for the first time the specifics of using digital technologies, in particular artificial intelligence, in the field of art, is considered. The article discusses the role of digital technology in the process of creating works of art. Conclusions. It was revealed that artificial intelligence is a technology that can only produce invariants of already created masterpieces, the recombination of what has already been created by man. Using digital technology, you can create not only static images in the form of paintings printed on a 3D printer but also dynamic video installations. The principles of the functioning of artificial intelligence technology in the process of creating works of art are considered. It was revealed that with the help of artificial neural networks commercial projects related to the recognition of images and sound information are successfully implemented.


First Monday ◽  
2006 ◽  
Author(s):  
Ava Fatah gen. Schieck

Large projection screens are becoming more and more ubiquitous in urban spaces. However, there is currently no methodology for designing media walls as an integral part of the urban built environment. This paper reviews the application of display walls and projection screens as an emergent new type of urban form in major metropolises around the world. It identifies issues related to the implementation of media walls, which perhaps form the basis for an integrated architectural media space. We suggest that in order to achieve real integration on an urban scale, we need to consider the design of space as a whole, taking into account the urban space, the dynamic visual information and the social interaction space.


2021 ◽  
Vol 8 (2) ◽  
pp. 64-67
Author(s):  
Nagasrilatha Bathala ◽  
Anjaneyulu Kammineni

: COVID-19 is referred as pandemic due to its severity and fierceness also as the greatest global health crisis since after centuries in human civilization. This made many schools and colleges to remain shut down for an indefinite time as the only option left to prevent transmission of virus in the institutions. At the same time, teaching concepts have changed with a similar speed than the evolution of the Internet, social media and digital technology. In these circumstances online teaching has become the only option left to fulfill the academic necessities of the students. This study will help to find out the students' opinion and attitude towards online classes during COVID – 19 Pandemic. : An Anonymous Cross sectional study is conducted among undergraduate medical students of various colleges affiliated to DRNTRUHS, AP regarding their opinion and attitude towards online teaching classes conducted during Covid 19 pandemic period by sharing the link for Google document. 432 under graduate medical students were participated in the study. 313 participants (72.41%) opined that online teaching is helpful. Majority of participants opined that online teaching is helpful (72.41%); comfortable (61.63%); they are able to interact (73.7%). 68.74% of participants have troubles to attend online classes. Very less participants (13.79%) showed their preference for online classes after this period. All the participants strongly mentioned that their practical skills will be affected badly due to this type of teaching.The deadly and infectious disease Covid-19 has deeply affected the educational system globally. In our present study majority of students strongly opined that online teaching is helpful; they are also comfortable and able to interact with their faculty also. When COVID 19 resolves, transformative changes are expected in medical education through the use of emergent technology.


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