10 research outputs found
Faces from the web: automatic selection and composition of media for casual screen consumption and printed artwork
No full text[Talk based on photographic project work]
No full textExposure 1.
An event and symposium at the Photographers’ Gallery
The Photographers' Gallery is the largest public gallery in London dedicated to photography. From the latest emerging talent, to historical archives and established artists, it’s the place to see photography in all its forms. The Photographer’s Gallery has an international reputation with its programme and activities providing a unique platform for showcasing British and international artists and new photographic developments. (thephotographersgallery.org.uk)
Photographers Paul Duke, Michael Bradley and Phil Pleasants presented their photographic work for discussion to an esteemed panel, including Camilla Brown, curator, Martin Barnes senior curator of Photographs at the V&A, and Zelda Cheetle, curator and editor, before an invited audience.
Followed by a symposium featuring the work of Christine Santa Anna, Phil Healey, Chaim Frankel and Aleksandra Wojcik.
Contribution:
Conduct a talk based on my own photographic project work, followed by a panel discussion with Martin Barnes and Zelda Cheatle.
Exposure 1.
26/11/14 6.30pm-8.30pm
The Photographer’s Gallery
16-18 Ramillies Street
London W1F 7L
W.E. Sangster: Sermons in America
No full textListened to by huge congregations in Britain, and perhaps the most recognizable British Methodist voice in the mid-twentieth century, W.E. Sangster was, in anyone's estimation, a giant of Methodism. This volume captures the preaching of Sangster in his prime, on the occasion of the 1956 World Methodist Conference in Junaluska, North Carolina. The research for this volume brings into the public domain ten sermons, nine previously unpublished, being transcripts of rare and damaged recordings, meticulously transcribed and annotated by the author on the subject of holy living, one of Methodism's characteristic theological emphases
Video stylization for digital ambient displays of home movies
No full textFalling hardware costs have prompted an explosion in casual video capture by domestic users. Yet, this video is infrequently accessed post-capture and often lies dormant on users’ PCs. We present a system to breathe life into home video repositories, drawing upon artistic stylization to create a “Digital Ambient Display” that automatically selects, stylizes and transitions between videos in a semantically meaningful sequence. We present a novel algorithm based on multi-label graph cut for segmenting video into temporally coherent region maps. These maps are used to both stylize video into cartoons and paintings, and measure visual similarity between frames for smooth sequence transitions. We demonstrate coherent segmentation and stylization over a variety of home videos
Stylized ambient displays of digital media collections
No full textThe falling cost of digital cameras and camcorders has encouraged the creation of massive collections of personal digital media. However, once captured, this media is infrequently accessed and often lies dormant on users' PCs. We present a system to breathe life into home digital media collections, drawing upon artistic stylization to create a “Digital Ambient Display” that automatically selects, stylizes and transitions between digital contents in a semantically meaningful sequence. We present a novel algorithm based on multi-label graph cut for segmenting video into temporally coherent region maps. These maps are used to both stylize video into cartoons and paintings, and measure visual similarity between frames for smooth sequence transitions. The system automatically structures the media collection into a hierarchical representation based on visual content and semantics. Graph optimization is applied to adaptively sequence content for display in a coarse-to-fine manner, driven by user attention level (detected in real-time by a webcam). Our system is deployed on embedded hardware in the form of a compact digital photo frame. We demonstrate coherent segmentation and stylization over a variety of home videos and photos. We evaluate our media sequencing algorithm via a small-scale user study, indicating that our adaptive display conveys a more compelling media consumption experience than simple linear “slide-shows”
Voices of inheritance : aspects of British film and television in the 1980s and 1990s
No full textDuring the 1990s the notion of the heritage film has become a taken for granted
category of British cinema. Rather than dispute the merits of particular films that lie
within this genre I question the construction of the relation between the idea of
heritage and contemporary British film and television. Using the critical literature
established by the contending cultural histories that address the rise of heritage in
British culture, I highlight other, frequently personal and national engagements with
inherited pasts. The concentration upon inheritance lends a greater emphasis to
what is passed on from the past and endures in the present.
The modes of articulating these inherited pasts are formally distinctive and
constructed out of the vocabulary of documentary and fiction. The corpus of texts
begins with the apparently radical avant garde film-making of Derek Jannan and
moves through the work of the Black Audio Film Collective to the apparently
conservative television documentaries of Alan Bennett. These key voices are then
situated in relation to the hegemonic definition of heritage and current debates
concerning British film and television. The persisting opposition which defined
British cinema during the 1980s posits an unofficial cinema characterized by dissent
and urban decay against an official cinema represented by the heritage film. My
corpus of texts challenges this opposition. The different engagements with inherited
pasts take place from different speaking positions and represent a diminishing
publicly funded tradition of film and television production. The range of positions
from margins to centre reveal that there was a contestation of the cultural sources
which are aggregated into the construction of heritage during the 1980s and 1990s
