The MultiPlasticity of New Media

Author(s):  
Gianluca Mura

Interaction systems with the user need complex and suitable conceptual and multisensorial new media definition. This study analyzes social and conceptual evolutions of digital media and proposes an interactive mixed-space media model which communicates the information contents and enhances the user experience between interactive space of physical objects and online virtual space. Its feedback gives information through user performance among its multisensorial interfaces. The research widens previous research publications, and gives precisely a definition of a fuzzy logic cognitive and emotional perception level to the metaplastic multimedia model. It augments the interaction quality within its conceptual media space through an action-making loop and gives as a result new contents of information within its metaplastic metaspace configurations.

Author(s):  
TRAN_THUONG TIEN ◽  
CECILE ROISIN

Declarative definition of multimedia presentation such as provided by SMIL standard can be considered as the most significant advance in the multimedia integration domain. However, the requirements of a model that could express richer scenarios for presentations are always a challenge. The work presented here proposes an extended model based on the concept of structured media and sub-elements that allows a finer granularity and a more semantic specification of significant events and locations inside media fragments. The new media fragments can be composed in multimedia scenarios through the specification of temporal, spatial and spatio-temporal relations. Moreover, we propose an abstract animation model that can be combined with the intra-media temporal structuration to specify animation effects in a flexible, not redundant and easy to maintain way. The underlying model is the Madeus model that is a flexible model based on the structural, interval, region and relative constraints. This paper describes the sub-element and the abstract animation models and shows how they are implemented in the Madeus multimedia framework. A complete schema of the video authoring tool based on this model is also specified. Thanks to that, the fine-grained authoring of multimedia scenarios with video media can be done in an easy and effective way.


Author(s):  
Margherita Pagani

As discussed in the previous chapter, the technological innovation process has a pervasive influence on the whole digital metamarket featured by the gradual convergence of three traditionally distinct sectors: IT, telecommunications, and media (Sculley, 1990; Bradley, Hausman & Nolan, 1993; Collins, Bane & Bradley, 1997; Yoffie, 1997; Valdani, 1997, 2000; Ancarani, 1999; Pagani 2000). The numerous innovations that could lead to “convergence” between TV and online services occur in various dimensions (Figure 2.1). The technology dimension refers to the diffusion of technological innovations into various industries. The growing integration of functions into formerly separate products or services, or the emergence of hybrid products with new functions, is enabled primarily through digitalisation and data compression. Customers and media companies are confronted with technology-driven innovations in the area of transport media as well as new devices. Typical characteristics of these technologies are digital storage and transmission of content from a technical perspective and a higher degree of interactivity from the user’s perspective (Schreiber, 1997). The needs dimension refers to the functional basis of convergence: functions fulfill needs of customers which can also merge and develop from different areas. This depends on the customers’ willingness to accept new forms of need fulfillment or new products to fulfill old needs. When effective buying power creates a significant market demand for integrated functions, then boundaries are likely to be dissolved between different consumer groups (Grant & Shamp, 1997). The industry and firm dimension refers to relevant industry variables that affect convergence.1 Market barriers to convergence include industry cultures and traditions, regulation and antitrust-legislation prohibiting the creation of alliances, mergers & acquisitions. Deregulation often leads to a removal of artificial barriers that then promotes industry convergence. Firm-specific barriers to convergence include differences in company cultures and core competencies. Different activities along or across traditionally separated value chains may be merged by “management creativity” (Yoffie, 1997) such as the creation of new businesses, acquisition, or the creation of strategic alliances and networks. Convergence describes a process change in industry structures that combines markets through technological and economic dimensions to meet merging consumer needs. It occurs either through competitive substitution or through the complementary merging of products or services, or both at once (Greenstein & Khanna, 1997). The problem is that the notion of “convergence” itself is generally taken to be a characteristic of digital media, suggesting a possible future in which there might just be one type of content distributed across one kind of network to one type of device. Convergence remains ill defined particularly in terms of what it might mean for businesses wishing to develop a new media strategy. This chapter argues for a definition of convergence based on penetration of digital platforms and the potential for cross-platform Customer Relationship Management (CRM) strategies, before going on to develop a convergence index according to which different territories can be compared. The model herewith discussed specifically refers to the European competition environment.


2018 ◽  
Vol 3 (2) ◽  
pp. 180
Author(s):  
Reza Praditya Yudha ◽  
Irwansyah Irwansyah Irwansyah

<p><em>Digital media creates a gap in the definition of the communication context </em><em>created by</em><em> West &amp; Turner (2010). Situational boundaries are increasingly unclear when in the whole process the number of participants, distance, space, feedback, media functions, and </em><em>variety of </em><em>channels are integrated. This study aims to analyze the implications of digital media functions in elaborating interpersonal communication to successfully mobilize groups. The study was conducted by reviewing the literature on new digital media theories. As a result</em><em>,</em><em> connectedness occurs as a character of interpersonal communication</em><em> in digital new media</em><em>. When the</em><em>se</em><em> context is </em><em>elaborated</em><em> by digital media</em><em> so that integrating more participants,</em><em> interaction is not just </em><em>merely</em><em> connection</em><em> anymore</em><em>, but focuses on shared meaning. At this point the context is </em><em>shift</em><em>ed into group communication.</em><em></em></p><p><em> </em></p><strong><em>Keywords</em></strong><em> : new digital media, communication context, interpersonal communication, group communication</em>


2020 ◽  
Vol 237 (10) ◽  
pp. 1172-1176
Author(s):  
Charlotte Schramm ◽  
Yaroslava Wenner

AbstractThe digital media becomes more and more common in our everyday lives. So it is not surprising that technical progress is also leaving its mark on amblyopia therapy. New media and technologies can be used both in the actual amblyopia therapy or therapy monitoring. In particular in this review shutter glasses, therapy monitoring and analysis using microsensors and newer video programs for amblyopia therapy are presented and critically discussed. Currently, these cannot yet replace classic amblyopia therapy. They represent interesting options that will occupy us even more in the future.


Author(s):  
Jesse Schotter

Hieroglyphs have persisted for so long in the Western imagination because of the malleability of their metaphorical meanings. Emblems of readability and unreadability, universality and difference, writing and film, writing and digital media, hieroglyphs serve to encompass many of the central tensions in understandings of race, nation, language and media in the twentieth century. For Pound and Lindsay, they served as inspirations for a more direct and universal form of writing; for Woolf, as a way of treating the new medium of film and our perceptions of the world as a kind of language. For Conrad and Welles, they embodied the hybridity of writing or the images of film; for al-Hakim and Mahfouz, the persistence of links between ancient Pharaonic civilisation and a newly independent Egypt. For Joyce, hieroglyphs symbolised the origin point for the world’s cultures and nations; for Pynchon, the connection between digital code and the novel. In their modernist interpretations and applications, hieroglyphs bring together writing and new media technologies, language and the material world, and all the nations and languages of the globe....


Author(s):  
Tim Rutherford-Johnson

By the start of the 21st century many of the foundations of postwar culture had disappeared: Europe had been rebuilt and, as the EU, had become one of the world’s largest economies; the United States’ claim to global dominance was threatened; and the postwar social democratic consensus was being replaced by market-led neoliberalism. Most importantly of all, the Cold War was over, and the World Wide Web had been born. Music After The Fall considers contemporary musical composition against this changed backdrop, placing it in the context of globalization, digitization, and new media. Drawing on theories from the other arts, in particular art and architecture, it expands the definition of Western art music to include forms of composition, experimental music, sound art, and crossover work from across the spectrum, inside and beyond the concert hall. Each chapter considers a wide range of composers, performers, works, and institutions are considered critically to build up a broad and rich picture of the new music ecosystem, from North American string quartets to Lebanese improvisers, from South American electroacoustic studios to pianos in the Australian outback. A new approach to the study of contemporary music is developed that relies less on taxonomies of style and technique, and more on the comparison of different responses to common themes, among them permission, fluidity, excess, and loss.


2020 ◽  
Vol 17 (5) ◽  
pp. 462-476
Author(s):  
Alexander A. Ushkarev ◽  
Galina G. Gedovius ◽  
Tatyana V. Petrushina

The technological revolution of recent decades has already brought art to the broadest masses, and the unexpected intervention of the pandemic has significantly accelerated the process of migration of theatrical art to the virtual space, causing the corresponding dynamics of the audience. What is the theater audience in the era of digitalization and the spread of alternative forms of cultural consumption? How does the theater build its relationship with the audience today? In search of answers, we conducted a series of sociological surveys of the Chekhov Moscow Art Theater’s audience — both at the theater’s performances and in the online community of its fans. The purpose of this phase of the study was to answer the fundamental questions: do spectators surveyed in the theater and those surveyed online represent the same audience; what are their main differences; and what are the drivers of their spectator behavior? The article presents the main results of a comparative analysis of two images of the Moscow Art Theatre’s audience based on a number of content parameters by two types of surveys, as well as the results of a regression analysis of the theater attendance. The study resulted in definition of the qualitative and behavioral differences between the theater visitors and the viewers surveyed online, and identification of the factors of theater attendance for both of the represented audience groups. The study made it possible to clarify the role of age and other socio-demographic parameters in cultural activity, as well as the influence of preferred forms of cultural consumption (live contacts or online views) on one’s attitude to art, motivation and spectator behavior. The conclusions of the study, despite the uniqueness of the object, reflect the general patterns of the modern art audience’s dynamics.


Author(s):  
Dan J. Bodoh

Abstract The growth of the Internet over the past four years provides the failure analyst with a new media for communicating his results. The new digital media offers significant advantages over analog publication of results. Digital production, distribution and storage of failure analysis results reduces copying costs and paper storage, and enhances the ability to search through old analyses. When published digitally, results reach the customer within minutes of finishing the report. Furthermore, images on the computer screen can be of significantly higher quality than images reproduced on paper. The advantages of the digital medium come at a price, however. Research has shown that employees can become less productive when replacing their analog methodologies with digital methodologies. Today's feature-filled software encourages "futzing," one cause of the productivity reduction. In addition, the quality of the images and ability to search the text can be compromised if the software or the analyst does not understand this digital medium. This paper describes a system that offers complete digital production, distribution and storage of failure analysis reports on the Internet. By design, this system reduces the futzing factor, enhances the ability to search the reports, and optimizes images for display on computer monitors. Because photographic images are so important to failure analysis, some digital image optimization theory is reviewed.


2021 ◽  
Author(s):  
Kristian Kletke

Virtual reality (VR) is an immersive technology that is increasingly considered for use in the sports media space. With the proliferation of digital media, stakeholders in the sports ecosystem are looking to leverage new technology as part of their distribution strategy. This paper will seek to investigate the potential for virtual reality as a sports broadcasting medium. Through an exploration of various points of view in the field, use cases, and theoretical frameworks, this research will attempt to understand the various barriers to mainstream adoption. This MRP concludes that virtual reality for sport viewing is still in its infancy, but will pervade the market as a complementary broadcasting offering in the future. It will furthermore seek to outline a business model for virtual reality sports to monetize content.


2021 ◽  
Vol 39 (4) ◽  
pp. 449-460
Author(s):  
da eun Jeong ◽  
sun jung Lee

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