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72 research outputs found
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Book of Roy
No full textFrom 1998 to 2005 Neil Drabble photographed an American teenager, Roy, as he grew from adolescence to early manhood. On one level this extensive body of work can be viewed as a fascinating document of an always-compelling transition. Closer scrutiny reveals further nuances; a collaboration, a partnership, a personal portrait and at the same time a universal picture of adolescence.
Drabble chose not to depict significant events that might appear in a family album nor definitive moments associated with documentary photography. Instead, these photographs concentrate on the listless, off-scene periods, the ‘in between moments’ of everyday life. This focus on the marginal passages of disregarded time situates the viewer at the heart of adolescence, defined as the period between childhood and adulthood, suspended between longing (for the deferred promise of adulthood) and regret (for the loss of childhood as refuge).
By photographing the same person repeatedly and intimately over their formative years, a sense of mirroring began to emerge, reawakening something of the artist’s own adolescent self, blurring the line between portrait and self-portrait.
Neil Drabble grew up in a grey, 1970s Manchester, watching American TV shows, and fantasising about a perceived glamour of an adolescence lived in places where teenagers ate pizza, drank Dr Pepper, chatted on the phone to friends until late and drove cars rather than waiting at rainy bus stops. The process of picturing Roy and the collaboration between the older photographer and younger subject allowed Drabble in some ways to re-stage his own teenage years and vicariously engage with aspects of an alternate American youth he had coveted across the Atlantic
The Influence of Content and Device Awareness on QoE for Medical Video Streaming over Small Cells: subjective and objective quality evaluations
No full textThere is a significant increase in mobile internet usage resulting in demand for traffic volume, frequency efficiency and energy and cost reduction, for which small cell networks are expected to play a key role. Due to high bandwidth requirement, mobile health applications (m-health) and medical video streaming in particular will benefit from small cell networks in terms of Quality of Service (QoS) and Quality of Experience (QoE) enhancements. This paper presents content-aware and device-aware medical Quality of Experience evaluations in terms of subjective (e.g. MOS) and objective (e.g. PSNR and SSIM) quality metrics obtained over small cell networks. Furthermore, we address the following two main research questions: (1) How significant is ultrasound video content type in determining medical QoE? (2) How much of a role does the display device play in medical experts' diagnostic experience? The former is answered through the content classification of ultrasound video sequences based on their spatio-temporal features and validating their significance through medical experts' subjective ratings. The latter is answered by conducting a subjective experiment of the ultrasound video sequences across multiple devices, ranging in screen size and resolution
The Love Settle and The Bard’s Rest
Full text linkThe output comprises two artefacts commissioned by
Shakespeare Birthplace Trust (SBT), on display between 8
March and 19 September 2019 at Anne Hathaway’s Cottage
and Hall’s Croft (the home of Shakespeare’s daughter
Susanna), Stratford-upon-Avon, UK
Designing the Stereoscopic 3D Media Soundscape: An Exploration of the Perceptual Effects of Auditory Cues Alteration on Stereoscopic 3D Presentations
Full text linkAssisted by the technological advances of the past decades, stereoscopic 3D media are currently making another attempt to be established as mainstream forms of entertainment. Arguably, the main focus of this effort is placed on the creation of immersive 3D visual worlds. However, with few exceptions, little attention has been given so far to the potential effect of the soundtrack on such environments. The potential of sound both as a means to enhance the impact of the 3D visual information and to expand the 3D world beyond the boundaries of the visuals is large. In this context, we highlight some of the challenges 3D content producers face. Then, we propose a number of ways in which the soundtrack can be used to complement 3D media productions. These propositions are based on the unique spatial characteristics of stereoscopic 3D media and cover considerations on the spatial orientation of the soundtrack, the use of audio cues to direct visual attention, to support camera and 3D object movements as well as 3D material editing. Finally, we report on the results of a series of experiments we ran exploring the effectiveness of specific auditory cues in 3D audiovisual presentations. Results, although not conclusive, indicate that some of the studied auditory cues can influence the audience judgement of depth and immersion in 3D animation scenes, sometimes in unexpected ways. We conclude that 3D media content creation can benefit from further studies on the effectiveness of specific sound design techniques to enhance space perception and immersion
Squaring the Circle Wilfred’s Lumia and his Rejection of ‘Colour Music’
Full text linkThis chapter will explore Thomas Wilfred’s relation to music in his self-defined art form of ‘lumia’, and compare him to contemporaries including the abstract animator Mary
Ellen Bute (1906–83) and Oskar Fischinger (1900–67), as these two artists were the most successful and visible proponents of visual music in mid-twentieth-century America. They went on to influence a number of significant successors in the field, not least the pioneers of early computerized animation, James and John Whitney. Fischinger also influenced the young John Cage, whilst Wilfred had some impact on Jackson Pollock and was exhibited alongside him at the Museum of Modern Art (MoMA), New York
Interface Chaos
Full text linkA short fictional film about offshore finance and nonhuman agency. INTERFACE CHAOS explores the struggle for survival of two entities confined to the archipelago and tax haven of the Seychelles: an endemic palm tree - populating its natural landscape, and the technology of money - populating its artificial landscape.
More information on INTERFACECHAOS.CO
Multi-Channel Sound Design: Instruments for 360-Degree Composition
Full text linkThe continuing development and industry uptake of multi-channel audio is creating new potential for sound designers. This paper presents research that provides a new approach to designing sound for spatial audio applications, by investigating the potential of combining sound creation and spatialisation through performance. The research uses a practice-based approach, involving
the design, development and testing of a software-based instrument that combines gestural control, multi-voice sound generation and an Ambisonic spatialisation system. The focus of the research is to prototype an instrument
that is easy to learn and intuitive to use
A Holographic Infotainment System for Connected and Driverless Cars: An Exploratory Study of Gesture Based Interaction
No full textIn this paper, an interactive in-car interface called HoloDash is presented. It is intended to provide information and infotainment in both autonomous vehicles and ‘connected cars’,
vehicles equipped with Internet access via cellular services. The research focuses on the development of interactive avatars for this system and its gesture-based control system. This is a case study for the development of a possible human-centred means of presenting a connected or autonomous vehicle’s On-Board Diagnostics through a projected ‘holographic’ infotainment system. This system is termed a Holographic Human Vehicle Interface (HHIV), as it utilises a dashboard projection unit and gesture detection. The research also examines the suitability for gestures in an automotive environment, given that it might be used in both driver-controlled and driverless vehicles. Using Human Centred Design methods, questions were
posed to test subjects and preferences discovered in terms of the gesture interface and the user experience for passengers within the vehicle. These affirm the benefits of this mode of visual communication for both connected and driverless cars