ARTISTIC POTENTIAL OF DIGITAL GRAPHICS MODELLING. CONVERGENCE OF TRADITIONAL AND MULTIMEDIA EXHIBITION MEANS FOR DISPLAY OF DIGITAL ARTWORKS

The article considers the artistic potential of computer graphic modeling on the example of modern exhibition events that implement the convergence of traditional and multimedia exhibition facilities in the demonstration of digital art. Modern trends in multimedia transformation of exhibition spaces are outlined. The study resulted in recommendations for the optimal organization of the environment for displaying hybrid as well as digital works of art. The conclusions on the prospects for the development of innovative exhibition spaces will allow to optimize the functioning of the exhibition environment with a growing share of digital graphic content.

LSB steganography detection in monochromatic still images using artificial neural networks

Embedding graphic content in multimedia through steganography is a useful and fast practice to hide information. However, detecting the use of this technique is complex and sometimes unsuccessful because variations are not visually perceptible. This article proposes the use of a binary classification model based on artificial neural networks to detect the presence of LSB steganography on monochromatic still images of 256x256 and 8 bits, based on the Standford Genome Project. The steganograms were generated by varying the payload from 0.1 to 0.5 to obtain image pairs of carriers and steganograms. For each steganogram, the following features were extracted from image histograms: kurtosis, skewness, standard deviation, range, median, harmonic mean, Hjorth mobility, and complexity. The results show that the classifier reaches a 91.45% accuracy in detecting LSB steganography when learning from all payloads, as well as a 96.78% individual classification accuracy in the best case with a payload of 0.5.

Design, Development and Applicability Evaluation of a Digital Cartographic Model for 3D Cadastre Mapping in China

Structurally describing the portrayal-related information by using a standalone Digital Cartographic Model on top of a Digital Landscape Model has been proved applicable and beneficial for 2D mapping but has not yet been applied to 3D cadastre. This study, therefore, evaluates the applicability of digital cartographic model and the corresponding visualization pipeline for 3D cadastre in the context of Chinese urban cadastre. This research starts by identifying the requirements and design features of 3D cadastre mapping through a literature review and interviews with users and cartographers. Addressing the limitations of the existing general-purpose models, this paper proposes an ad hoc 3D cadastre digital cartographic model. The main developments of the proposed model are the inclusion of 3D content modeling, the support of the compound 3D symbols, and the introduction of the semantic transformation. The proposed model is then embedded into three parts of the cadastre visualization pipeline: the symbolic rule design, graphic content creation, and scene dissemination. The empirical result of qualitative proof-of-concept user tests supports that the proposed visualization pipeline is applicable and yields promising visualization results. The digital cartographic model-based visualization pipeline is a novel 3D cadastre mapping paradigm that facilitates designing, producing, sharing, and administrating.

From punk into pop (via hardcore): Re-reading the Sub Pop manifesto

Bruce Pavitt’s music fanzine Sub Pop, the first issue of which appeared in 1980, is often presented as a simple case of independent culture versus the reviled mainstream, with little reference to the actual written and graphic content of its pages. This article challenges and complicates that view with an account of Pavitt’s usage of language and specific genre terms – in particular, his tendency to rebrand punk as (indie) ‘pop’. This he reinforces with all manner of written and visual references to 1950s pre-corporate means of production and consumption. In so doing, I argue, he projects what numerous theorists have defined as a ‘genre culture’ based around pop. Pavitt also tries, however, to absorb the immediate indie legacy of hardcore within his genre culture. As the second part of the article demonstrates, this generates stark tensions within his fanzine reviews and other copy – not least when his opening Sub Pop manifesto rejects the toxic masculinity of corporate rock but simultaneously celebrates hardcore’s own carefully policed American, anti-British, anti-theatrical masculinity. Such tensions, I suggest in closing, found their way into Pavitt’s most famous creation, where they were partly, if still messily, resolved: this was the Seattle indie record label, also called Sub Pop, and its signal genre of grunge.

Desarrollo de competencias digitales de estudiantes universitarios en contextos informales de aprendizaje

Este artículo busca evidenciar la percepción de estudiantes universitarios sobre el desarrollo de competencias digitales por fuera de los contextos educativos formales. Para ello, se llevó a cabo una investigación mixta secuencial con ingresantes universitarios de una institución privada de la ciudad de Cali, Colombia. Como técnicas de recolección de información se implementaron un cuestionario electrónico y dos grupos de discusión. Entre los principales resultados se encontró que los estudiantes tienen una percepción heterogénea respecto al desarrollo de las distintas áreas de la competencia digital, siendo más fuertes las relacionadas con la interacción y la creación/edición de contenidos gráficos. Las de menor desarrollo son las competencias de seguridad y resolución de problemas. Los estudiantes dan cuenta de un amplio número de prácticas digitales que han aprendido de forma autónoma, a través de la interacción con otros sujetos, con recursos propios de la web y a partir de experiencias personales de ensayo y error, pero estas competencias no suelen transferirse al ámbito académico. Finalmente, se presentan algunas propuestas que pueden plantearse como ejes articuladores del desarrollo de competencias digitales dentro y fuera del aula. The purpose of this article is to explore the perception of university students about the development of digital skills in informal educational contexts. To this end, a sequential mixed research was conducted with university students from a private institution in the city of Cali, Colombia. The data collection techniques consisted of an electronic questionnaire and two discussion groups. Among the main results, it was found that students have a heterogeneous perception regarding the development of the different areas of digital skills, being stronger those related to the interaction and the creation/ edition of graphic content. The lowest values were reported for security competencies and problem solving. The students referred a wide number of digital practices that they had learned autonomously, through interaction with other individuals, with web resources and from trial-error personal experiences. However, these competences are not usually transferred to the academic field. Finally, some proposals are presented. They can be considered as articulating axes for the development of digital competences inside and outside the classroom.

Actual trends of architectural forms and graphics in the costume design context

This article is devoted to the study of the graphic trends and design activities’ relationship for a costume designer with modern architectural forms, as a source of inspiration and style formation for these subject-spatial creativity areas. The purpose of the article is to identify the specifics of the associative trends’ relationship in modern costume design with architecture and graphics. Identification of this specificity will help in establishing the relevant interdisciplinary connections in design education. To achieve this goal, the authors set the following tasks: 1) analysis of modern trends in costume formation based on identifying the features of the architectural forms’ influence on the modern costume design; 2) analysis of the general structural and graphic solutions between the modern presentation of architectural forms in the costume design by means of its graphic content. The authors proceed from the idea of the modern phenomena interaction in costume design, its graphics and architectural forms. In the analysis of the modern graphics and architectural forms’ main features in the conceptual solution to the costume design, common features of interaction are revealed. Changes in the art and design activities in the direction of graphic symbolism and imagery are revealed on the example of modern trends in architecture. The results of the study on the introduction of interdisciplinary communications are tested in classes on design in the material’s project implementation, special graphics and concepts in design.

HYBRID MOBILE AUGMENTED REALITY: WEB-LIKE CONCEPTS APPLIED TO HIGH RESOLUTION 3D OVERLAYS

Mobile Augmented Reality (MAR) aligns toward current technological advances with more intuitive interfaces, realistic graphic content and flexible development processes. The case of overlaying precise 3D representations exploits their high penetration to induct users to a world where data are perceived as real counterparts. The work presented in this paper integrates web-like concepts with hybrid mobile tools to visualize high-quality and complex 3D geometry on the real environment. The implementation involves two different operational mechanisms: anchors and location-sensitive tracking. Three scenarios, for indoors and outdoors are developed using open-source and with no limit on distribution SDKs, APIs and rendering engines. The JavaScript-driven prototype consolidates some of the overarching principles of AR, such as pose estimation, registration and 3D tracking to an interactive User Interface under the scene graph concept. The 3D overlays are shown to the end user i) on top of an image target ii) on real-world planar surfaces and iii) at predefined points of interest (POI). The evaluation in terms of performance, rendering efficacy and responsiveness is made through various testing strategies: system and trace logs, profiling and ‗end-to-end‖ tests. The final benchmarking elucidates the slow and computationally intensive procedures induced by the big data rendering and optimization patterns are proposed to mitigate the performance impact to the non-native technologies.

Hubungan Motion Graphic Sebagai Konten Promosi Sekolah di Media Sosial

Social media is one product of the development of technology wrote so rapidly. Social media can not be separated from the everyday human life, seen from the users of social media continues to grow every time. Various convenience perceived as benefits of social media in life. As the utilization of social media as a means of information dissemination promotion of a company or agency. Motion graphic is one form of digital content that are frequently exploited by an agency or company for delivery of broad information such as public service announcements, company profile, and media promotion. Social media can be utilized as dispersion media motion graphic content more broadly and efficiently.

A Splicing Technique for Image Tampering using Morphological Operations

Image tampering is one part of the field of image editing or manipulation that changes certain parts of the graphic content of a given image. There are several techniques commonly used for image tampering, such as splicing, copy-move, retouching, etc. Splicing is a type of image tampering technique that combines two different images, replacing particular objects, skewing, rotation, etc. This study applies the splicing technique to image tampering using morphological operations. Morphology is a collection of image processing operations that process images based on their shape. The aim of this study is to replace particular objects in an original image with other objects that are similar to another selected image. In this study, we try to replace the ball object in the original image with another ball object from another image

13 Reasons Why: Can a TV Show About Suicide Be 'Dangerous?’ What is the Responsibility of a Producer?

<p><i>The release of the Netflix’s show </i>13 Reasons Why<i>caused significant public concern about the risk of suicide contagion among teenagers – particularly those who have suicidal thoughts. Practitioners and researchers expressed apprehension about the show for its apparent praise of suicide and for allegedly increasing suicide risk among vulnerable teenagers. However, there is a lack of clear evidence for the influence of fictional content on self-harm. Little is known about variations in media effects between news and fiction. The literature focuses mainly on non-fictional media reporting, without making any distinction between individual vulnerability and the type of media portrayal. The present article criticises the assumption that risk of self-harm is reduced by sanitising fictional content. The absence of scientific evidence is precisely why this article re-addresses the problem through an ethical perspective by focusing on the moral responsibility of Netflix in creating graphic content for young adults. Censoring fiction may do more harm than good, but producers have the responsibility to evaluate in advance the potential impact that such content has on vulnerable people and support viewers as well as parents, educators, practitioners through an adequate campaign of prevention.</i></p>