Audio Visual Media

In modern times such as this, the world of entertainment, especially in the film really enjoy doing.Various types of films emerging and very interesting to watch. In the modern era oftelecommunications today, technology is very influential. Mainly in the manufacture of variousfilms. Start of animas to fiction films. At that moment the application of multimedia technology ofcomputer generated imagery is needed, to make a movie that the film will be alive and visible. Inthe filming of Transformers lot of computer generated imagery using this technology, because ofthe effects of a car that turns into a robot is not possible using the manual method such as dressingsets per set of movie. Therefore Computer Generated Imagery is used this technology. In theatmosphere of the original, just needed the room with the green screen background and then willbe processed into a computer and software specifications are quite high. Starting from the effectsof flying to the moon, meteor fall, the tran...

Il massimo di pluralismo» nella radiotelevisione: norme, riflessioni, utopie Candidato: dott. GABRIELE MAESTRI Numero di matricola: 1316709 Coordinatore: prof. FULCO LANCHESTER Relatore: dott.ssa MARIA GRAZIA RODOMONTE A.A. 2011-2012 II «I cittadini della Comunità accoglieranno con favore l'ampliamento delle possibilità della televisione […] soprattutto se la Comunità sarà in grado di cogliere la sfida culturale inerente a queste nuove tecniche inquadrandole in un futuro assetto europeo che non obbedisca soltanto alle esigenze economiche» Commissione europea Televisione senza frontiere -Libro bianco (1984) «È un fluido, l'Italia televisiva, in cui sono omogeneizzati ormai tutti gli atteggiamenti e i comportamenti di una società che si è illusa di cambiare passando, per dirlo in una formula, dalla volgarità al trash, e che quindi celebra se stessa, nei ludi dell'etere, sperimentando ogni giorno la propria postmodernità e nascondendo dietro le quindi di una fiction e di un talk show i propri arcaismi» Edmondo Berselli Post Italiani (2003) «Potevamo fare sentire la nostra voce. Potevamo ficcargliela lì, nelle loro case, nelle loro autoradio, nei loro negozi, nelle loro officine, nelle loro sedi di partito, nei loro bar. Probabilmente non avevamo così tanto da dire. Però, perdio, era la nostra voce» Luciano Ligabue Fuori e dentro il borgo (1997) «There's fifty-seven channels and nothin' on» Bruce Springsteen IV

Perkembangan zaman yang sangat pesat saat ini dimanfaatkan sebuah sekolah termasuk pesantren menggunakan media promosi sebagai pengenalan serta daya tarik agar dapat diketahui oleh masyarakat luas.Maka dari itu, media video dirasa sangat efektif untuk dijadikan sebagai sarana promosi dizaman modern ini.Pondok Pesantren Al-Bayan adalah sekolah pesantren yang menerapkan nilai-nilai Islam didalamnya.Permasalahan yang ada yaitu sebelumnya pondok pesantren Al-Bayan, hanya menggunakan media cetak, social media,website, dan video profile yang dibuat tahun 2017 belum update informasinya sehingga memerlukan pengembangan dalam strategi media promosi pada Pondok Pesantren Al-Bayan. Tujuannya yaitu untuk membantu pondok pesantren Al-Bayandalam mengembangkan media berbentuk video promosi, agar menjadikan daya tarik yang efektif dan informatif bagi calon santri.Manfaatnya adalah pondok pesantren Al-Bayandengan mudah memberikan informasi dalam bentuk video promosi yang menarik kepada masyarakat luas.Metode penelitiannya yaitu dengan pengumpulan data, analisa perancangan media dan konsep produksi media (KPM) yaitu: pre production, production, dan postproduction. Hasil dari penelitian ini berupa media video sebagai penunjang promosi pada Pondok Pesantren Al-Bayan.Melalui video promosi ini, diharapkan dapat membantu Pondok Pesantren Al-Bayan dalam memberikan informasi yang terupdate, dan informatif serta meningkatkan jumlah penerimaan santri baru setiap tahunnya.

This 121 page document is the collection of TEN resources having to do with audiovisual lexicon, both film and TV.

Some have been vastly restructured and updated, others were only reformatted for easy use.

This document is a pedagogical tool when working or learning within the field of audiovisual art or technology. The choice has been mostly collected and edited as a monolingual data bank, apart from the eighth resource that I personally only upgraded and that is bilingual.

I also integrated the technical credit list of one film in order to provide a real and closed set of terms corresponding to all the professions and jobs intervening in the production of a major film.

Apart from the editing, upgrading and reformatting I did for all resources, my main contribution has been the collecting and bringing together of various resources freely available when I did that work.

الملخّص: تنخرط المجموعة الأمميّة منذ سنوات عديدة في التّأسيس لمسارات عمليّة حول التّربية على وسائل الإعلام في مختلف دول العالم تهدف لِوضع أسس منهجيّة ومعرفيّة تساعد مستقبلي المضامين الإعلاميّة على التّفاعل مع الميديا بأسلوب ناقد وبنّاء. وباعتبار أنّ الجمهور يُعَدّ محور التّربية على وسائل الإعلام، فإنّه من الضّروريّ فهمه حتّى يكون دوره ناجعا في دفع الميديا نحو صناعة إنتاج إعلاميّ أكثر جودة. فالجمهور وعلى امتداد ما يقارب القرن من الزّمن، صاغته عمليات قياس جمهور الميديا السّمعيّة والبصريّة في شكل "رقم" مُفرَغ من كفاءاته المعرفيّة ومكتسباته القيَميّة وقدراته الإبداعيّة. كما ساهمت المنظومة العالميّة لقياس جمهور الميديا في خلق تنافسيّة بين المؤسّسات الإعلاميّة أدّت إلى تجزئة الجمهور وتشتيته بين منصّات إعلاميّة عدّة حتى بات جمهورا منعزلا. والجمهور، ووفق منطق الاقتصاد الرّيْعيّ الذي يميّز الإعلام، ليس إلاّ رأس مال طبيعيّ تُحقِّق به الميديا الثّروة والدّيمومة الاقتصاديّة في سوق الإعلام.

ولا يمكن لمسارات التّربية على وسائل الإعلام أن تُخرج الجمهور من السّياق السّوسيو-اقتصاديّ الذي يَطبع البيئة الإعلاميّة العالميّة، حيث وجب عليها التّعامل معه ليس حسب مُعرِّفاته السّوسيو-ثقافيّة وإنّما على اعتبار أنّه مستثمر في قطاع الإعلام يضخّ أمواله ويُسخّر من وقته ويبذل جهدا في متابعة الميديا ومستجِدّاتها. ومن هذا المنطلق، يصبح التّوجّه مُلحّا نحو مأسسة جمهور الميديا، حيث تكون مؤسّسات الجمهور نسقا رئيسيّا في منظومة التّربية على وسائل الإعلام جنبا إلى جنب مع المؤسّسات الإعلاميّة ومؤسّسات التّربية على وسائل الإعلام. وتتوافق هذه الأنساق الرّئيسيّة حول العناصر الأساسيّة المكوِّنة للمنظومة، وهي آليات تعديليّة تتلخّص أساسا في الأدوات النّقديّة من معارف ومنهجيات وتقنيات وغيرها لتقييم الميديا معنويّا ودفعها نحو إنتاج مضامين إعلاميّة أكثر جودة. فالجمهور حينئذ شريك إيجابيّ بمقترحاته وآرائه في العمليّة الإنتاجيّة الإعلاميّة وليس مستهلكا سلبيّا للإعلام، وهي صورة العلاقة التّفاعليّة التي يجب أن تكون عليها الميديا والجمهور بعد تركيز منظومة للتّربية على وسائل الإعلام تكون متوازنة.

ولئن ساهمت المنظومة العالميّة لقياس جمهور الميديا طيلة عشرات السّنوات في تثمين الميديا وتهميش الجمهور، إلاّ أنّ صياغة أسس متينة لمنظومة عالميّة للتّربية على وسائل الإعلام من شأنه أن يَحُدّ من هيمنة نموذج سوسيو-اقتصاديّ رأس ماليّ طغى على نشاط قطاع الإعلام في العالم وأسهم في المُتاجرة بالمضامين الإعلاميّة وأفرغها من أبعادها التّنمويّة للإنسان والمجتمع.

وتساعد المقاربة النّسقيّة العلميّة في التّفكير بعمق في تفاصيل منظومة عالمية للتّربية على وسائل الإعلام تكون متوازنة من حيث العلاقات الدّاخليّة والخارجيّة لمختلف الأنساق المكوِّنة لها. وهي تكشف لنا ذلك الخلل النّسقيّ الذي تقوم عليه التّجارب السّائدة في مجال التّربية على وسائل الإعلام، حيث أنّ التّعويل على بناء مؤسّسات مختصّة في التّربية على وسائل الإعلام لا يكفي للدّفع نحو صناعة إعلام الجودة، وإنّما هو يصنع إعلاما بديلا هاويا، على المدى المتوسّط أو البعيد. فالهدف حينئذ يجب أن يتركّز على تسليح جمهور الميديا، وليس فئة النّاشئة والشّباب فقط، بآليات توجيه الإعلام نحو إنتاج مضامين إعلاميّة جيّدة ونحو منحى تعديلها الفوريّ والآنيّ. كما يُوظَّف المنهج النّسقيّ للبحث في مستقبل منظومة التّربية على وسائل الإعلام وكشف أهدافها وتوجّهاتها. ويمكن لحقل علوم الإعلام والاتّصال بالتّعاون مع العلوم الاجتماعيّة والعلوم الاقتصاديّة الاشتغال وفق مقاربة نقديّة للجمهور على إعادة التّفكير في جمهور الميديا وتوحيد المفاهيم بشأنه، وذلك انسجاما مع السّياق السّوسيو-اقتصاديّ لقطاع الإعلام.

This thesis aims to study the usage of computer generated imagery in VJ
Performance. The main workflow of VJ Practices has been divided into content, process, and output. The project includes the creation of computer generated visual material via generative/creative coding defined as content, VJ performance with these materials defined as process, and presentation of visuals via Video Projection Mapping Technology defined as output.

The purpose of this study was to investigate "effects of audio visual aids in enhancing learning of students at secondary level". This study was descriptive and survey to investigate the effects of visual Aids in enhancing learning of students at secondary level So target is teachers to investigate Impact of Visual aids in enhancing the learning process at primary level in tehsil Attock and the population of this study was the teachers of 10 private and public schools. The sample size of the research was 100 teachers of ten private and public schools. The quantitative approaches were used for data collection. Questionnaire was used to as research instrument. Questionnaire has 14 items, questionnaire was for the teachers. Questionnaire has close ended items with the option of students strongly agree, agree, neutral, disagree and students strongly disagree.

Di era globalisasi ini , program pembelajaran seakan-akan belum dapat memberikan hasil yang memuaskan. Hal ini terlihat ketika proses pembelajaran berlangsung, suasana kelas nampak tegang dan membosankan. Guru sibuk menyampaikan materi tanpa mau tau tentang siswanya faham atau tidak. "Paham tidak paham asal materi habis dan urusan menjadi beres". Kebanyakan guru dalam mendidik selalu monoton atau tidak melakukan variasi-variasi. Banyak guru-guru yang GATEK (Gagap Teknologi) sehingga kurang mampu menggunakan media dalam proses pembelajaran. Belajar mengajar adalah suatu kegiatan yang bernilai edukatif. Nilai edukatif mewarnai interaksi yang terjadi antara guru dengan anak didik. Interaksi yang bernilai edukatif dikarenakan kegiatan belajar mengajar yang dilakukan, diarahkan untuk mencapai tujuan tertentu yang telah dirumuskan sebelum pengajaran yang dilakukan. Guru dengan sadar merencanakan kegiatan pengajarannya secara sistematis dengan memanfaatkan segala sesuatunya guna kepentingan pengajaran. Fungsi media pendidikan dalam kegiatan pembelajaran tidak hanya sekedar alat peraga bagi guru, melainkan pembawa pesan-pesan informasi dan pesan-pesan pembelajaran yang dibutuhkan peserta didik.

This study aims to: (1) describe the implementation of science teaching deaf children in class XI, and (2) describe and analyze the use of visual media in science teaching deaf children in class XI. This study used a qualitative descriptive method. Source of research data are teachers, students and principals. The technique of collecting data used was interviews, documentation and observation. SLB research sites in Sukoharjo district, which includes SLB ABCD YSD Polokarto, SLB Hamongputro Jombor B-C, B-C SLB YPALB Langenharjo and SLB ABC Tawangsari. The data were analyzed through data reduction, data display and draw conclusions. Conclusions are presented in the form of narrative text form field notes. The results showed that (1) the implementation of science teaching deaf children in class XI SLB Sukoharjo still using conventional methods with students to make a note of the material presented (2) the use of visual media in science teaching deaf children in class XI SLB Sukoharjo regency is still minimal because it only uses media images and text books provided in the school.

Proactive researcher with over € 1 million in acquisitions and teacher dedicated to inclusive classrooms with 10+ years’ experience, currently supervising 8 PhDs. Co-edited and authored 3 books and 5 special issues on contemporary cultural production analyzing the intersecting dimensions of gender, sexuality, race, and ability. Published 35+ peer-reviewed articles and book chapters conjoining the fields of trans studies and visual culture studies. Currently project leader on a national consortium of fifteen public and private partners dedicated to an intersectional approach to the selection, preservation, and display practices of material culture, print and (audio-)visual media.

Sony is the pioneering electronics company behind such iconic brands as PlayStation, VAIO, and, Walkman. Sony is consistency creating new and innovative products and has stood ahead of the competition in new electronics. Many of these products become household names, According to “branding wisdom, the best way to become a strong brand is to be first in a new category. (Haig, 2011). One notable exception was the brand failure of Sony’s Betamax video cassette recorders (VCRs).  Introduced in 1975, Sony’s VCR was the first to market in category. The following year JVC, one of Sony’s Japanese rivals released its own VCR system, known as VHS. Unlike Sony who initially manufactured its own proprietary technology, VHS was immediately licensed by JVC to numerous other manufacturers. This alliance brought down the first to market and arguably superior technology of Sony’s Betamax.

The back cover of the present booklet displays the mission statement of the Budapest Visual Learning Lab, formulated in October 2009. Since then, the VLL has held regular monthly research seminars and organized seven international conferences, publishing seven selected and edited collections of papers. The 2018 Budapest conference, VLC8, should contribute to the recognition that the pictorial turn in education is about to happen -indeed it should contribute decisively to making it happen.

The study is titled Effects of Audio-Visual Resources on Academic Performance of Junior Secondary School Students in Zaria Education Zone, Kaduna State, Nigeria. The study was guided by two research questions and two corresponding null hypotheses. The design of the study was the non-equivalent pre-test and post test comparison group. The population of the study consisted of 26322 JSS students in Zaria Education Zone, Kaduna State, Nigeria. The study purposively used 120 JSSIII students from GJSS, Aminu and GJSS Tudun-Jukun, Zaria as experimental and control groups respectively. This study used teacher-made test known as ‘Social Studies Achievement Test (SOSSAT) as data collection instrument. The instrument was duly validated by experts and has reliability coefficient of 0.87 obtained using Guttmann split half method. The arithmetic mean and standard deviation were used to answer the questions by the study while independent sample t-test statistic was used to test the study’s null hypotheses at 0.05 alpha. The researchers found that JSS III students taught with lecture technique supplemented by audio-visuals out-performed their counterparts taught with lecture technique only and that lecture technique aided by television (audio-visual) has shown to be gender friendly. In the light of the findings it is recommended among others the need for Social Studies teachers to use audio-visual aids in their classrooms for their students for optimum academic performance.

The better quality pdf is downloadible from here: "http://www.leoalmanac.org/wp-content/uploads/2013/07/LEAVol19No3-Mailman.pdf
Through recent artistic practices and technology of interactive systems for music, composition and improvisation have more and more blended and interconnected with each other – a sui generis situation now called comprovisation. The concept of comprovisation applies equally well to the spontaneous generation and manipulation of computer graphics, especially as such graphics are systematically coordinated audio-visually, while being subject to spontaneous manipulation by a performer.
This is explained in terms of the Fluxations and FluxNoisations Human Body Interfaces, interactive dance systems that generate music and graphics spontaneously in response to hand and body movement. They enable spontaneous expressive shaping of coherent complexity and variety. Thus a multi-layered multimodal experience arises. The aesthetic experience of this multimedia spectacle relates to experiences of various prior music and visual art of the 19th, 20th, and 21st centuries, as well as to hypothetical physical realities. Thus a kind of cybernetic phenomenology of art is pursued and enacted through an embodied cybersynthesis of art with simulated alternate reality. Call it a pragmatic speculative realism, an adventurous technoetic ‘what if.’ As compared to more traditional forms of improvisation, the opportunities for risk-taking and aesthetic exploration rise to a new level of uncertainty, as the reactions of the improviser simultaneously draw from and target both visual and aural modalities, such that the intentions toward each fuse together."

This article deals with the philosophical idea of worldmaking pursued through techné, meaning the fusion of the technical means of artistic creation, theorizing, and analysis, but specifically occurring in a feedback loop involving introspection and computation (cybernetic phenomenology). The discussion ranges over a wide variety of topics, including (1) the history of music theory from Ancient Greece to the present (including a rebuttal to Daniel Chua’s (2001) account of music history); (2) emergent properties in music arising from self-organization (explored through the Ancient Chinese abstract strategy board game go); (3) the ontology of musical qualities (properties) and categories (including their relation to visual, tactile, and olfactory qualities and categories). 
Various repertoires, artists, and philosophies are referenced. The essay analyzes aspects of Ligeti’s Violin Concerto, Carter’s String Quartet No. 5, and Lachenmann’s Kinderspiel.  Connections to the author’s own previous analytical and theoretical work are also discussed in relation to his interactive algorithmic audio-visual works (such as Fluxations and FluxNOISations). The techné of these is discussed in terms of logistics as well as aesthetic influences, including Wagner, Liszt, Stravinsky, Schoenberg, Crawford, Babbitt, Carter, Xenakis, Parker, Reich, Ligeti, Truax, Oliveros, Kandinsky, Miro, Pollock, Pollock, Hofmann, Rothko, Louis, Frankenthaler, Moholy-Nagy, Newman, Richter, and Brakhage.  The essay touches on philosophical ideas of Bergson, Whitehead, Deleuze, Harman, and Bogost, and more fully engages the philosophies of Nelson Goodman and Hannah Arendt in connection with artistic creation as relating to the theorizing and analysis of artistic works.     

Contact the author at [email protected]
Download the article through JSTOR: http://www.jstor.org/stable/10.7757/persnewmusi.54.1.0005
or http://tinyurl.com/zdvkllr

Performance of pupils in Oral Literature examinations in English Paper 2 has been below average in recent years. For instance, the 2016 KCSE examination student performance in English was poor across the country and Butere Sub County in particular. Therefore, this research sought to determine teachers' knowledge and skills in developing and utilizing audiovisual instructional resources in teaching and learning oral literature in selected public secondary schools. The respondents for the study involved principals and oral literature teachers who were selected through purposive and stratified random sampling technique. The research instruments used were questionnaires and interview guides. The result of the analysis showed that despite most teachers attaining the required academic qualification, they did not adequately improvise audiovisual instructional resources during teaching and learning of oral literature in public secondary schools in Butere Sub County, Kenya. Oral literature teachers did not involve students in improvising these resources and this could the underutilisation of audiovisual instructional resources in teaching and learning Oral Literature in secondary schools. The study recommends that principals in secondary need to ensure that OL is allocated time in the school timetable and also support teachers for further in-service training on audiovisual instructional media use in schools.

Analisi della campagna marketing del film "Guardinas of the Galaxy Vol. 2" all'interno del panorama/franchise del Marvel Cinematic Universe. Si considerano le strategie adottate per raggiungere singolarmente tutte le varie fasce di pubblico, con particolare attenzione alla costellazione cross-mediale e social in cui il prodotto è immerso.

The Paper discusses the Assistive Provisions for education of students with Learning Disabilities in selected schools in Delhi, India, that have been instrumental in using innovative learning strategies to ensure inclusion of children with Learning Disabilities, without any hindrance of discrimination or difficulty in meeting the standards of these elite schools.

Abstrak Perkembangan dunia pendidikan semakin pesat, ini dapat terlihat dari banyaknya sekolah yang melakukan promosi agar lebih dikenal oleh masyarakat. Saat ini, media audio visual adalah bentuk promosi yang sudah banyak digunakan. Media audio visual lebih menarik karena mencakup banyak unsur, diantaranya gerak, gambar, suara, dan juga musik. Tujuan penelitian ini adalah merancang media audio visual agar dapat menjadi daya tarik yang efektif, terutama dalam penyampaian promosi dan informasi. SMA Negeri 15 Kota Tangerang merupakan salah satu lembaga pendidikan di Kota Tangerang yang beralamat di Jl. Villa Tgr. Regency Raya, Periuk, Kec. Tangerang, Kota Tangerang. Permasalahan yang ada di SMA Negeri 15 Kota Tangerang adalah bentuk media promosi yang digunakan masih berupa media komunikasi visual, seperti pamflet, spanduk, brosur, dan lainnya. Sehingga SMA Negeri 15 Kota Tangerang membutuhkan media penunjang informasi dan promosi yang lebih menarik dan efektif yaitu dalam bentuk video profile. Implementasi dari video profile ini akan ditujukan kepada calon siswa baru, menjalin relasi dengan sekolah lain, ataupun sebagai media promosi dan informasi untuk masyarakat luas. Kata kunci— Promosi, Audio Visual, Video Profile. Abstract Development of educational world is increasingly rapidly, it can be seen from the large number of schools that do promotions for better known by the public. Currently, audio visual media is a form of promotion that's been used a lot. Audio visual media is more interesting because it includes many elements, including motion, picture, sound, and music. The purpose of this research is to design audio visual media in order to be an effective appeal, especially in the promotion and delivery of information. SMA Negeri 15 Kota Tangerang is one of the educational institutions in the town of Tangerang which is located at Jl. Villa Tgr. Regency Raya, Periuk, Kec. Tangerang, Kota Tangerang. Existing problems in SMA Negeri 15 Kota Tangerang is media promotion used was a medium of visual communication, such as pamphlets, banners, brochures, and more. So the SMA Negeri 15 Kota Tangerang requires supporting media information and promotions that are more interesting and effective, namely in the form of a video profile. Implementation of this profile video will be directed to new prospective students, establish relationships with other schools, or as a media promotion and information for the public. 1. Pendahuluan Multimedia adalah salah satu teknologi yang menggabungkan gambar, teks, suara, video, dan animasi menjadi sistem informasi yang sangat berguna dalam menyampaikan pesan, promosi, dan informasi yang diberikan kepada audience yang senantiasa digunakan untuk menciptakan citra atau image positif dari pihak terkait yang menginginkan sekolahannya lebih dikenal masyarakat luas secara positif. Untuk dapat menjangkau masyarakat luas, sebuah lembaga membutuhkan sosialisasi atau promosi. Salah satunya adalah dengan membuat sebuah video profile yang pada saat sekarang ini sedang trend digunakan berbagai institusi pendidikan sebagai sarana promosi. Video profile biasanya berisi paparan dan penjelasan mengenai ruang lingkup sebuah lembaga pendidikan seperti sejarah sekolah, profil sekolah, status sekolah saat ini, fasilitas, keunggulan sekolah, dan tujuan masa depan dalam dunia pendidikan.

Di zaman modern seperti saat ini, dunia hiburan khususnya pada film sangat di gemari. Berbagai jenis film bermunculan dan sangat menarik untuk di tonton. Di era modern telekomunikasi saat ini, teknologi sangat berpengaruh. Seiring berkembangnya teknologi yang sangat maju tidak di imbangi dengan pengadaan fasilitas pembuatan film. Sehingga kadang dalam proses pembuatan film akan terjadi kesalahan bahkan cendrung film akan menjadi tidak bagus. Dengan menggunakan teknologi Computer Generated Imagery memungkinkan pembuatan film akan berjalan dengan baik. Multimedia yang di tampilkan akan sesuai dengan skenario dan sesuai dengan kebutuhan pada tahap produksi. Dalam artikel ini, di identifikasi permasalahannya adalah dalam pembuatan film Transformers jika tidak menggunakan CGI, dampak pengeluaran biaya aka menjadi besar, pengertian dari Computer Generated Imagery tersebut,  keuntungan dan kelemahan menggunakan teknologi CGI, serta manfaat dalam pengunaan metode CGI ini. Pada implementasinya, pengguna teknologi CGI ini akan berdampak positif pada pembuatan film yang banyak menggunakan visual efek. Teknologi CGI ini berandil besar dalam pengembangan dunia perangkat lunak maupun keras pada dunia komputer, dan menjadi solusi dalam pembuatan film dengan aksi dan efek yang memukau.
Kata Kunci : Multimedia, Computer Generated Imagery, Teknologi

The present paper attempts to explore the learning strategies and the audiovisual aids used in adult education by revisiting the series of measures taken in adult education in the country. (This publication is a published Chapter of my PhD Thesis submitted at the Jawaharlal Nehru University, and must not be shared without proper citation and due acknowledgement.)

O objetivo deste artigo é analisar a história da Associação Cinematográfica Fogo Consumidor (Tefé-AM), as trajetórias individuais de alguns dos seus cineastas juvenis e parte dos seus filmes, buscando entender os processos de expressão cultural e participação.

The field of interactive music systems (IMSs), beginning in the 1980s, is still relatively young and fast moving. The field of music theory-analysis, during the same period (since 1980), has undergone a major transformation in terms of technological innovations, flexibility, and breadth. The two fields have not really caught up with each other. It will be interesting to see what arises as they do — especially as both fields have become more concerned with the role of the body and embodied cognition. Framed in terms of contrasting epistemological orientations, this essay considers some relevant developments in IMSs, music cognition, and music theory and analysis, leading up to the present.  The most popular approaches to music cognition and to IMS design are rationalist (Ashby 2010), exploiting the ‘correct’ embodiments of music (Godøy 2004, Leman 2007, Paine 2009) based on affordances (Gibson 1977, Kelso 1998). This essay, however, advocates a pragmatist (Ashby 2010) approach inspired by music analysis and exploiting the potential of kinesthetic learning (associative learning). Prompted by a progressive approach to music analysis, theory, perception, and cognition (Dubiel 1999, Mailman 2007), interactive music technology can also be constructive, flexible, and progressive, by exploiting kinesthetic learning from immersion in new and unusual motion-to-sound mappings derived from dynamic formal processes in analysed music. In this way, immersive interactive systems offer an opportunity systematically to learn new associations based on principles theorised in response to analysis. Experience of these systems essentially ‘rewires the brain’, thereby exemplifying what Korsyn (2004) has attributed to Lewin’s (1986, 1987) approach to music perception: the ironist approach, as formulated by Rorty (1989). Thus a pragmatist ironist experimental (PIE) approach is articulated. Rather than committing to any particular ways music is already embodied, this approach acknowledges the flexible nature of embodied musical experience. It forges and uses interactive music technologies continually to redescribe and therefore reform how music is embodied, thereby disembodying to re-embody music, expanding how music is heard, contemplated and experienced.

Evolutionary Economists have modeled a cultural thermodynamics which allows for valuations of novelty in the form of creative works. These models can act as lenses through which the creation, modulations, and destructions of artistic value, as written about by the likes of David Joselit, Pamela Lee, Michael Thompson, and numerous others, can be analyzed. Beyond the limitations of Cartesian representationalism and Merleau-Pontean phenomenologies, beyond the performativism of Judith Butler and the borders delineated by the likes of Foucault, Niels Bohr, Kant and others, lies the reality of quantum entanglement, a concept yet to be reconciled with the world of art. Moving beyond agency as written about by the likes of Alfred Gell, beyond the interdisciplinary and into the intra-disciplinary, it is possible, with the help of Donna Haraway, and Karen Barad's explications on the entanglements of matter, meaning, and agency in conjunction with newly measurable aspects of environmental and human subtle energies, to move into the realm of thermodynamics, where something like David Summers' "Real Spaces" becomes a metaphor for "Real Energies." Here intra-agencies, while dissolved within the fabrics and networks of culture, can be revealed as energetic signatures.

Penelitian ini menggunakan pendekatan kuantitatif yang bertujuan untuk
memperoleh peningkatan hasil belajar siswa materi Matematika kelas III selama
masa pandemi covid19. Penelitian ini menggunakan metode penelitian tindakan
kelas (PTK) yang digunakan untuk memperoleh presentase hasil belajar. Dalam
penelitian ini, narasumber yang dipilih yakni kelas III. Materi yang digunakan
ialah mengenai operasi hitung bilangan tepatnya adalah perkalian. Hasil
penelitian ini, yaitu siklus I dalam pelaksanaan pembelajaran memperoleh
presentasi sebesar 78,79% pada siklus ini belum mencapai target yang
diharapkan. Setelah melakukan perbaikan pada siklus II diperoleh hasil belajar
sebesar 83,26%. Hasil belajar pada siswa pada siklus II telah mencapai target
yang diharapkan yakni 80%.
Kata Kunci: Pandemi COVID19, Media Audio Visual, Hasil Belajar.

This research is quasy experimental research with Factorial Design. The population is the eleventh grade students of SMA Catur Sakti year academic 2012/2013. By stratified cluster random sampling technique, the researcher gets XI science2 as the experimental class and XI social as the control class. The researcher analyzes the data by using the formula of two ways anava. Based on the discussion, it is found that Fcal = 8,5 and Ftable at significance level 1% is 7,11 and at significance level 5% is 4,01. Therefore, Fcal > Ftable, it means that there is interaction of listening achievement, learning media, and different listening habit. Thus, F cal = 85,65 and F table at significance level 1% is 7,11 and at significance level 5% is 4,01. It means that Fcal > Ftable, it means that there is difference of listening achievement using media podcast and media audiovisual. Afterwards, Fcal = 188,73 and Ftable at significance level 1% is 7,11 and at significance level 5% is 4,01. It means that Fcal > Ftable, it means there is difference in both of the media at good listening habit and bad listening habit.

Visiting a natural setting can be a deeply visceral experience. Experiencing a landscape is a two-part process: firstly, the senses take in information from a three-dimensional world – for most of us, these take the forms of sights and sounds. Secondly, this information is translated into a mental landscape flecked with the nuances of personal meaning. How one interprets a landscape cannot be separated from the observer; our personal experiences (and biases) filter and colour our observations. Arguably, the use of landscapes in the creation of artefacts is a form of communicative expression, both between the artist and the landscape, and between the artist and their own experiences. These considerations then raise the question of how an artist can then depict these visual and aural experiences, and the impact they have on the artist, as tangible artefacts that can be shared with others? One answer is through the creation of audio-visual works that combine the visual and aural aspects of a setting, and which then leads to another question: how do you create – or re-create – representations of a landscape? How does one establish relationships and associations between visual and aural information drawn from the found environment (that is, the environment in situ as seen and heard through the eyes and ears of an observer) and place these into audio-visual compositions? This article explores the creation of audiovisual representations of the found environment using elements of data as methods of sonification, the compositional processes involved with organising these data elements, using data as a structural process that informs the parameters of a composition and the use of music visualisation. Multiple data elements such as hexadecimal data, field footage, field recordings and contours of a landscape can be used to sonify the found environment by creating multiple perspectives of the environment into the work. It also strengthens the connection between the aural and the visual by creating links between both mediums. This article will discuss these points through analysis of the creation of ‘Civil Eyes // The Wild’, an audio-visual performance that was commissioned by the ‘You Are Here Festival’ in 2016— using the performance as an example of how the found environment can be used as parameters for sonification and visualisation.

The first quarter of the 21st century has barely passed, but a barrage of ‘disrupting’ surprises emerged – from the proliferation of information and communication technologies (ICT) to the weaponisation of ICT itself. Hence, cyberfakes or cyber deceptions (e.g., deepfakes, fake news, and even hate speech) have the potential to cause monumental problems related to cybersecurity and other online information management for organisations, nations, and individuals. Because literature and theories related to the novel cyber deceptions may be scanty, this chapter attempted to close this research and theoretical gaps by deriving concepts leading to the development of a ‘modelled framework’ for the study of deepfakes and other related cyber deceptions and violence in social, organisational, or national contexts. Performing brainstorming reviews of extant literature, several theoretical concepts were derived leading to the development of the unified model of digital deception and online hate pronouncement. Policy recommendations were offered at the end.

Pada era globalisasi sekarang ini, media video informasi sangatlah penting, agar masyarakat mendapatkan informasi yang akurat, fakta dan dapat memberikan wawasan. Perkembangan teknologi informasi khususnya media audio visual, menjadi kebutuhan penting bagi masyarakat luas. Sebelum melakukan Sidang TA/Skripsi, mahasiswa/i wajib mempersiapan diri untuk mendapatkan hasil yang maksimal dalam sidang akhir TA/Skripsi. Tujuan penelitian ini adalah membantu mahasiswa/i peserta sidang TA/Skripsi untuk mengetahui persiapan apa saja yang harus dilakukan sebelum menuju sidang TA/Skripsi. Permasalahan yang sering terjadi yaitu peserta sidang TA/Skripsi, belum mengetahui apa saja yang harus di persiapkan saat sidang TA/Skripsi, kurangnya informasi dan masih banyak peserta sidang yang lupa, kurang memperhatikan, membawa materi sidang dengan baik dan sesuai ketentuan sidang TA/Skripsi. Untuk itu diperlukan media informasi yang dapat membantu mahasiswa dalam mempersiapkan sidang TA/Skripsi. Metode penelitiannya yaitu analisa permasalahan, pengumpulan data, analisa perancangan media dan konsep produksi media. Hasil penelitian ini berupa perancangan video informasi pembekalan sidang TA/Skripsi berbasis audio visual. Video ini dibuat dengan software Adobe Premiere CC 2017 dan Adobe After Effects CC 2017. Melalui video informasi ini, diharapkan seluruh peserta sidang TA/Skripsi dapat memahami informasi yang disampaikan dan mengikuti ketentuan yang ada, sehingga peserta sidang dapat mempersiapkan dirinya dengan baik dan mengikuti sidang TA/Skripsi dengan lancar.

Di zaman modern seperti saat ini, dunia hiburan khususnya pada film sangat di gemari. Berbagai jenis film bermunculan dan sangat menarik untuk di tonton. Di era modern telekomunikasi saat ini, teknologi sangat berpengaruh. Seiring berkembangnya teknologi yang sangat maju tidak di imbangi dengan pengadaan fasilitas pembuatan film. Sehingga kadang dalam proses pembuatan film akan terjadi kesalahan bahkan cendrung film akan menjadi tidak bagus. Dengan menggunakan teknologi Computer Generated Imagery memungkinkan pembuatan film akan berjalan dengan baik. Multimedia yang di tampilkan akan sesuai dengan skenario dan sesuai dengan kebutuhan pada tahap produksi. Dalam artikel ini, di identifikasi permasalahannya adalah dalam pembuatan film Transformers jika tidak menggunakan CGI, dampak pengeluaran biaya aka menjadi besar, pengertian dari Computer Generated Imagery tersebut, keuntungan dan kelemahan menggunakan teknologi CGI, serta manfaat dalam pengunaan metode CGI ini. Pada implementasiny...

This research paper titled An Appraisal of Audiovisual Translation, Implications of Subtitling from Hausa of Sub-Saharan Africa to English explores the spectacular developments in Translation Studies that have occurred in the field of audiovisual translation (AVT) or film translation, most notably subtitling. Subtitling involves converting speeches of actors or characters (characters) to written texts in a movie below the screen. AVT generally is in a state of flux of ongoing changes. Subtitling traditions vary from nation to nation and across enterprises. Special emphasis is laid on intralingual subtitling; (the aspect of language learning) and interlingual subtitling for listeners or viewers. The paper evaluates the challenges of subtitles in movies of the Sub-Saharan Hausa region to English. The researcher used qualitative research method and interpretative approach of translation in order to find out the challenges translators face in subtitling in the movies. This involves extracting subtitles as data through transcription from the movie in a tabular form and comparing them with the translated subtitles followed by an analysis. The paper discovered that application of subtitling in Kannywood movies poses problems that may result in misinterpretation.

The Indian Media Industry has reached Rs. 1.5 trillion in 2017 with a growth of 13% over previous years (FICCI, 2018). It was indeed expected to reach Rs. 1.66 trillion by 2017 from its Rs. 82,000 Crores in 2012 with a Compounded Annual Growth Rate (CAGR) of 15.2 %, foresees media experts in their analysis (KPMG, 2013). It is expected to reach Rs. 2 trillion by 2020 at CAGR of 11.6%, with a wide scope for digital advertising till 2020. The growth in TV industry is 11.2% and film grew with 27% in 2017 (FICCI, 2018). This clearly indicates the significant progress in the TV & film industry, which has job opportunities for young aspirants having employable skills. The media industry irrespective of the medium has matured technologically by digitizing, yet identifying the skilled professional from the academic institution for visual media is laborious and unfavorable. The recruiters mostly rely on the references from those in the industry than institutions offering media programmes on one hand; as a flip of the coin, it has been demanding to the institutions to get campus placement. The emptiness appears to exist between the visual media industry and the majority of the UGC recognised institutions. The age-old syllabus and theoretical pedagogy have been one of the primary hindrances to up skill in teaching concepts, theories, and imbibing practicality particularly in visual media subjects. The academic privations in facets like resources, infrastructures, laboratories, broadcasting audio and video equipments, systems, software's and applications and most importantly the facilitator who transforms a learner to a media professional with employable skills to suit industry, has barricaded the entry of a student to the industry. It is been observed, the students opt for desk jobs in news channels and print publication or get in the Public Relation & Communication stream rather than trying for avenues in creative, technical and management areas. Few academicians at institutions agree to the existing lacking and opine that the authorities at the education board and the Ministry of Higher Education at both the State level and Central level have critically failed to recognise media studies as a professional course to the extent it deserves, causing limitation in evolving an institution offering professional programmes in media studies. The study focuses on assessing the employable skills imparted to learners and the professional skills the learner should possess during the course and suggest effective recommendations with regard to television industry profiles.

AVRUPA BİRLİĞİ VE TÜRKİYE'DE MEDYA POLİTİKALARI
Türkiye'nin Uyum Süreci ve Televizyon Yayıncılığı Üzerine Bir Araştırma

İkinci Dünya Savaşının getirdiği yıkımın ardından başlayan Avrupa Birliği'nin bütünleşme süreci ekonomik entegrasyonla ivme kazanmış ve ekonomi temelli politikalardan hareketle siyasi ve kültürel birlik sağlanmaya çalışılmıştır. Bugün Avrupa Birliği, bir yandan üye ülkeler arasında ekonomik, siyasi ve kültürel iş birliğini derinleştirmeye çalışırken bir yandan da geleceğine yön verecek bir kararın arifesinde bulunmaktadır. Türkiye’nin üyeliği, Avrupa Birliği’nin bugüne kadar karşılaştığı en zor genişleme hareketlerinden biri, belki de birincisidir. 1959 yılında Türkiye’nin Avrupa Ekonomik Topluluğu’na tam üyelik başvurusuyla başlayan Türkiye - Avrupa Birliği ilişkileri yarım asrı aşan bir süredir devam etmekte, 2004 yılından beri Türkiye resmen aday statüsü tanınmış bir ülke olarak AB ile üyelik müzakerelerini yürütmektedir. Bu müzakereler 35 fasıl altında aday ülkenin AB müktesebatına uyumunu içermektedir. Araştırmanın konusu olan Avrupa Birliği’nin görsel-işitsel politikasına uyum müzakereleri, Bilgi Toplumu ve Medya Faslı altında yürütülmektedir. Avrupa Birliği literatüründe medya politikaları yerine görsel-işitsel politikalar ifadesinin daha sık kullanılması nedeniyle çalışma içerisinde de söz konusu politikalar ve düzenlemeler bu ifade ile anılmaktadır.
AB’nin görsel-işitsel politikasına uyum çerçevesinde Türkiye bir dizi yasal düzenleme gerçekleştirmiştir. Yapılan yasal değişiklikler ile ilgili literatürel çalışmalar olmakla birlikte, yasa ile uygulamayı karşılaştıran, yapılan değişikliklerin televizyon sektörü üzerindeki etkilerini araştıran, aynı zamanda sektörden düzenleme ve uygulamalarla ilgili bir geri
  i
bildirim almayı hedefleyen bir araştırma yürütülmemiştir.
Çalışmanın önemi, hem Türk görsel-işitsel politikasının AB’ye uyum sürecindeki tüm yasal düzenlemeleri incelemesinden hem de bu düzenlemelerin uygulanması ile ilgili olarak sektörü analiz eden ilk çalışma olmasından kaynaklanmaktadır. Çalışma kapsamında, Avrupa Birliği görsel-işitsel politikasına uyum sürecinde televizyon yayıncılığı alanında yapılan yasal değişiklikler ve bu değişikliklerin televizyon yayıncılığı sektörüne olan etkisi incelenmektedir.

This paper refers to the audiovisual recording, transformation and projection of natural spaces, describing the technology and methods for capturing panoramic sound and image, and the technologies and processes involved in projecting the recorded material through the mobile immersion environment A.R.T.E. (Artificial Restoration of Transmuted Environments) 1 . The project ‘opticacoustic ecology’, coordinated between 2012-2014 by the TEI of Ionian islands, Greece, involved the seasonal recording of natural outdoors environments, aiming at the documentation and study of the natural heritage of the Ionian Sea, and the utilization of current digital technology for synchronized audiovisual capture and projection, which enhances our experience of the natural environment. During such a process, a number of decisions need to be made regarding proper planning, choice of field recording equipment, techniques applied and a series of problems to be solved. At a later stage, projecting the materi...

This paper sheds light on a less explored aspect of the modern construction of Iranian national identity. It investigates the role of modern audiovisual media including cinema, radio and television in this modern construction. Although the study of Iranian national identity has developed well beyond
the orthodox romantic nationalist approach dominant during the 20th century,
not enough attention has been given to the study of modern audio-visual media. While the printing press had an important role in the construction of what Benedict Anderson calls an ‘imagined community' of Iranians, it was the emergence of cinema, radio and television that crucially contributed to the spread of the Persian language as the national language of Iranians. I also argue that these media were essential in the propagation of the nationalist ideology of the Pahlavi dynasty. Another widely overlooked area in Iranian media studies is the importance of the 1979 Revolution in further popularization of audio-visual media. I investigate recently published data from research conducted in 1974 in order to show that despite the availability of these media, many Iranians refrained from using them, mainly due to religious reasons. The 1979 Revolution and the subsequent Islamization of the audio-visual media, however, changed this dynamic and accelerated the popularization of these media even among the hardliner religious population. This contributed to further construction of an Iranian national identity.

Проблема повышения мотивации учащихся к обучению является сейчас одной из наиболее актуальных. В то же время, исчерпывающих средств обеспечения должного уровня мотивации пока не найдено. Однако существует определенный опыт, накопленный в процессе экспериментальной работы Института содержания и методов обучения РАО совместно с ГОУСОШ №1331 ЦОУ МДО и Культурным центом дополнительного образования «Арбатская Иверия». Академический эксперимент «Использование информационных технологий в образовательных учреждениях для социально незащищенных детей» вызвал у ГОУСОШ №1331 большой интерес. Он определяется как предметом, так и объектом экспериментальной работы.

Considering the efforts to resolve the widespread societal phenomenon of violence against women, awareness-raising and the role of the media comprise one of the key targets by the most important international agreements to combat it. The women’s anti-violence movement since the 1970s has made essential contributions to the recognition of violence against women as a human rights violation and is a crucial player in the field of violence prevention. Its anti-violence initiatives are of major importance. Looking at the media in general, we can observe how different programmes and formats depict similar (visual) narratives of clichéd imagination on intimate partner violence, whereas the systemic nature of the problem mostly remains hidden (Bonilla Campos, 2008; Boyle, 2005; Geiger, 2008; López Díez, 2005; Taylor, 2009; Wolf, 2013a, b). This lack of clarity is hindering the comprehension of gender-based violence as a societal phenomenon.

The imagery disseminated by the women’s anti-violence movement and institutionalised entities constitutes the core subject of this article, in order to obtain insights into the supposed alternative representations appropriate to contrast the ‘malestream’ media on the subject. Their contributions to visual discourse through European-wide, Spanish and Austrian anti-violence initiatives are analysed from 2007 to 2011 - before the Istanbul Convention came into force. As the social roots and the transposition of the complexity of gender-based violence constitute a rather ambiguous undertaking, the analysis aims to disclose how anti-violence initiatives shape the social accounts of male-to-female partner violence, identifying good practice examples and underlying ideological concepts.

This paper examines how certain contemporary audio-visual works from post-socialist countries in the Balkan region, employ archival footage from the communist period, to address and problematize the notion of remembering and suppressing national history through collective memory. I specifically focus on the work of the Albanian artist, Armando Lulaj and his videos Albanian Trilogy: A Series of Devious Stratagems (2011, 2012 and 2015) exhibited at the 56th Venice Biennale. By re-using images and narratives produced during Enver Hoxha’s regime, and still ingrained in Albanian visual memory, these films provide alternative readings of Albanian history from the Cold War to the present day. What is more, some of this archival material is made public for the first time, while the rest has been dormant and purposely forgotten in archival vaults. Lulaj’s playful excursions, create connections between a problematic and suppressed past and the difficult and selective present, by juxtaposing evocative and politically charged visual records and contemporary footage of artist’s commissioned performances.