Broken Theory is a jettisoned collection of fragmentary writing, collected and collaged by new media artist, writer, musician, and theorist Alan Sondheim. Folding theoretical musings, text ...experiments, and personal confessions into a single textual flow, it examines the somatic foundations of philosophical theory and theorizing, discussing their relationships to the writer and body, and to the phenomenology of failure and fragility of philosophy’s production. Writing remains writing, undercuts and corrects itself, is always superseded, always produced within an untoward and bespoke silo – not as an inconceivable last word, but instead a broken contribution to philosophical thinking. The book is based on fragmentation and collapse, displacing annihilation and wandering towards a form of “roiling” within which the text teeters on the verge of disintegration. In other words, the writing develops momentary scaffoldings – writing shored up by the very mechanisms that threaten its disappearance. Broken Theory is prefaced by a text from Maria Damon and followed by an extensive interview with art historian Ryan Whyte.
This paper addresses the issue of monitoring and tracking people and vehicles within smart cities. The actors in this work jointly cooperate in sensing, sensible data processing, anonymized data ...delivery, and data processing, with the final goal of providing real-time mapping of vehicular and pedestrian concentration conditions. The classification of conditions can bring out critical situations that can be communicated in real-time to citizens. Tests were conducted in the city of Cagliari, Italy.
Screens are ubiquitous today. Yet contemporary screen media eliminate the presence of the screen and diminish the visibility of its boundaries. As the image becomes indistinguishable from the ...viewer’s surroundings, this unsettling prompts re.examination of how screen boundaries demarcate. Through readings of three media forms – Virtual Reality; holograms; and light projections – this book develops new theories of the surfaces on and spaces in which images are displayed. Interrogating contemporary contestations of reality against illusion, it argues that the disappearance of difference reflects shifted conditions of actuality and virtuality in understanding the human condition. These shifts further connect to the current state of politics by way of their distorted truth values, corrupted terms of information, and internalizations of difference. The Post.Screen Through Virtual Reality, Holograms and Light Projections thus thinks anew the image’s borders and delineations, evoking the screen boundary as an instrumentation of today’s intense virtualizations which do not tell the truth. In the process, a new imagination for images emerges for a gluttony of the virtual; for new conceptualizations of object and representation, materiality and energies, media and histories, real and unreal; for new understandings of appearances, dis-appearances, replacement and re.placement – the post-screen.
Multimedia pedagogical agents are on-screen characters that allow users to navigate or learn in multimedia environments. Several agents’ characteristics may moderate their instructional ...effectiveness, including appearance, gender, nonverbal communication, motion, and voice. Here, we conducted a meta-analysis to test hypotheses from diverse theories predicting the effects of these agents’ characteristics. We tested predictions of cognitive load theory, cognitive theory of multimedia learning, computers are social actors, social agency theory, uncanny valley, and the action observation network. Our meta-analysis of 32 effect sizes (
N
= 2104) revealed a small overall effect (
g
+ = 0.20), showing that learning with multimedia pedagogical agents was more effective than learning without these agents. As predicted by the redundancy effect of cognitive load theory and the coherence principle of cognitive theory of multimedia learning, 2D agents (
g
+ = 0.38) tended to be more effective than 3D agents (
g
+ = 0.11). As predicted by the computers are social actors hypothesis, most of the agents’ characteristics, including nonverbal communication, motion, and voice, appeared not to moderate their effectiveness. We conclude that multimedia pedagogical agents help learning through multimedia, and that students may be able to learn similarly from different types of agents.
The focus of High Performance Multimedia is on the ever expanding European e-content industry. Production, aggregation and distribution of that content are the starting points to any future ...development towards a flourishing industry sector of the third millennium. Nevertheless, in addition to the diffusion of knowledge throughout the industry, digitalisation has completely changed the structure of the content business through the dissociation of content and media channel. This movement creates problems in the process of the business. Highest technological demands in time and money are limiting the size of e-content enterprises today. In contrast, its distribution is still being dominated by broadcasters and telecom providers that skim the biggest part of the profits. However, possibilities do arise when analyzing the industry of e-content. The European e-content market will be able to play a major role in the future by including all relevant players and their abilities. The challenge during the next years will be to stop the concentration on high-end technology and to create new adequate e-content services providing added value to everyone in Europe.
In 4 experiments, participants viewed a short video-based lesson about how the Doppler effect works. Some students viewed already-drawn diagrams while listening to a concurrent oral explanation, ...whereas other students listened to the same explanation while viewing the instructor actually draw the diagrams by hand. All students then completed retention and transfer tests on the material. Experiment 1 indicated that watching the instructor draw diagrams (by viewing the instructor's full body) resulted in significantly better transfer test performance than viewing already-drawn diagrams for learners with low prior knowledge (d = 0.58), but not for learners with high prior knowledge (d = −0.24). In Experiment 2, participants who watched the instructor draw diagrams (by viewing only the instructor's hand) significantly outperformed the control group on the transfer test, regardless of prior knowledge (d = 0.35). In Experiment 3, participants who watched diagrams being drawn but without actually viewing the instructor's hand did not significantly outperform the control group on the transfer test (d = −0.16). Finally, in Experiment 4, participants who observed the instructor draw diagrams with only the instructor's hand visible marginally outperformed those who observed the instructor draw diagrams with the instructor's entire body visible (d = 0.36). Overall, this research suggests that observing the instructor draw diagrams promotes learning in part because it takes advantage of basic principles of multimedia learning, and that the presence of the instructor's hand during drawing may provide an important social cue that motivates learners to make sense of the material.
"In a world where new technologies are being developed at a dizzying pace, how can we best approach oral genres that represent heritage? Taking an innovative and interdisciplinary approach, this ...volume explores the idea of sharing as a model to construct and disseminate the knowledge of literary heritage with the people who are represented by and in it. Expert contributors interweave sociological analysis with an appraisal of the transformative impact of technology on literary and cultural production. Does technology restrict, constraining the experience of an oral performance, or does it afford new openings for different aesthetic experiences? Topics explored include the Mara Cultural Heritage Digital Library, the preservation of Ewe heritage material, new eresources for texts in Manding languages, and the possibilities of technauriture. This timely and necessary collection also examines to what extent digital documents can be and have been institutionalised in archives and museums, how digital heritage can remain free from co-option by hegemonic groups, and the roles that exist for community voices. A valuable contribution to a fast-developing field, this book is required reading for scholars and students in the fields of heritage, anthropology, linguistics, history and the emerging disciplines of multi-media documentation and analysis, as well as those working in the field of literature, folklore, and African studies. It is also important reading for museum and archive curators."
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