Youtube for Foreign Languages: You Have to See This Video Joseph M
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Make a Mini Dance
OurStory: An American Story in Dance and Music Make a Mini Dance Parent Guide Read the “Directions” sheets for step-by-step instructions. SUMMARY In this activity children will watch two very short videos online, then create their own mini dances. WHY This activity will get children thinking about the ways their bodies move. They will think about how movements can represent shapes, such as letters in a word. TIME ■ 10–20 minutes RECOMMENDED AGE GROUP This activity will work best for children in kindergarten through 4th grade. GET READY ■ Read Ballet for Martha: Making Appalachian Spring together. Ballet for Martha tells the story of three artists who worked together to make a treasured work of American art. For tips on reading this book together, check out the Guided Reading Activity (http://americanhistory.si.edu/ourstory/pdf/dance/dance_reading.pdf). ■ Read the Step Back in Time sheets. YOU NEED ■ Directions sheets (attached) ■ Ballet for Martha book (optional) ■ Step Back in Time sheets (attached) ■ ThinkAbout sheet (attached) ■ Open space to move ■ Video camera (optional) ■ Computer with Internet and speakers/headphones More information at http://americanhistory.si.edu/ourstory/activities/dance/. OurStory: An American Story in Dance and Music Make a Mini Dance Directions, page 1 of 2 For adults and kids to follow together. 1. On May 11, 2011, the Internet search company Google celebrated Martha Graham’s birthday with a special “Google Doodle,” which spelled out G-o-o-g-l-e using a dancer’s movements. Take a look at the video (http://www.google.com/logos/2011/ graham.html). -
Exam Preparation Through Directed Video Blogging Using Electronically-Mediated Realtime Classroom Interaction
2016 ASEE Southeast Section Conference Exam Preparation through Directed Video Blogging and Electronically-Mediated Realtime Classroom Interaction Ronald F. DeMara, Soheil Salehi, and Sindhu Muttineni Department of Electrical and Computer Engineering University of Central Florida, Orlando, FL 32816-2362 e-mail: [email protected] Abstract A structured approach to video blogging (“vlogging”) has been piloted at the University of Central Florida (UCF) as a pedagogical tool to increase engagement in large-enrollment undergraduate courses. This two-phased activity enables a “risk-free” approach of increasing participation from all students enrolled in the course, as well as the opportunity for students who volunteer to advance their technical exposition soft-skills through professional video composition. A review of subject matter content without requiring the viewing of an excessive quantity of vlogs along with a rubric supporting automated grading mechanisms in real-time are some of the objectives that will be met through the implementation of this pedagogical tool. The resulting Learner Video Thumbnailing (LVT) hybrid individual/group exercise offers a highly- engaging interactive means for all students to review course topics in preparation for larger objective formative assessments. Keywords Formative Assessment, Cyberlearning, Student Engagement, vlog, YouTube Introduction Video Blog postings, also known as vlogs in a shared online environment can facilitate learners’ reflective thinking1. In addition, it can provide a medium to express the students’ understanding, triggering a meaning-making process thereby making it a significant aspect of formative assessment in online higher education1, 4, 5, 6, 7. A vlog can be defined as a blog in which the postings are in video format2. -
In What Way Is the Rhetoric Used in Youtube Videos Altering the Perception of the LGBTQ+ Community for Both Its Members and Non-Members?
In What Way Is the Rhetoric Used in YouTube Videos Altering the Perception of the LGBTQ+ Community for Both Its Members and Non-Members? NATALIE MAURER Produced in Thomas Wright’s Spring 2018 ENC 1102 Introduction The LBGTQ community has become a much more prevalent part of today's society. Over the past several years, the LGBTQ community has been recognized more equally in comparison to other groups in society. June 2015 was a huge turning point for the community due to the legalization of same sex marriage. The legalization of same sex marriage in June 2015 had a great impact on the LBGTQ community, as well as non-members. With an increase in new media platforms like YouTube, content on the LGBTQ community has become more accessible and more prevalent than decades ago. LGBTQ media has been represented in movies, television shows, short videos, and even books. The exposure of LQBTQ characters in a popular 2000s sitcom called Will & Grace paved the way for LGBTQ representation in media. A study conducted by Edward Schiappa and others concluded that exposure to LGBTQ communities through TV helped educate Americans, therefore reducing sexual prejudice. Unfortunately, the way the LBGTQ community is portrayed through online media such as YouTube has an effect on LGBTQ members and non-members, and it has yet to be studied. Most “young people's experiences are affected by the present context characterized by the rapidly increasing prevalence of new (online) media” because of their exposure to several media outlets (McInroy and Craig 32). This gap has led to the research question does the LGBTQ representation on YouTube negatively or positively represent this community to its members, and in what way is the community impacted by this representation as well as non- members? One positive way the LGBTQ community was represented through media was on the popular TV show Will & Grace. -
HOW to MAKE MONEY with Youtube Earn Cash, Market Yourself, Reach Your Customers, and Grow Your Business on the World’S Most Popular Video-Sharing Site
HOW TO MAKE MONEY WITH YouTube Earn Cash, Market Yourself, Reach Your Customers, and Grow Your Business on the World’s Most Popular Video-Sharing Site BRAD AND DEBRA SCHEPP New York Chicago San Francisco Lisbon London Madrid Mexico City Milan New Delhi San Juan Seoul Singapore Sydney Toronto Copyright © 2009 by Brad and Debra Schepp. All rights reserved. Except as permitted under the United States Copyright Act of 1976, no part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written permission of the pub- lisher. ISBN: 978-0-07-162618-7 MHID: 0-07-162618-2 The material in this eBook also appears in the print version of this title: ISBN: 978-0-07-162136-6, MHID: 0-07-162136-9. All trademarks are trademarks of their respective owners. Rather than put a trademark symbol after every occurrence of a trademarked name, we use names in an editorial fashion only, and to the benefit of the trade- mark owner, with no intention of infringement of the trademark. Where such designations appear in this book, they have been printed with initial caps. McGraw-Hill eBooks are available at special quantity discounts to use as premiums and sales promotions, or for use in corporate training programs. To contact a representative please visit the Contact Us page at www.mhprofessional.com. How to Make Money with YouTube is no way authorized by, endorsed, or affiliated with YouTube or its sub- sidiaries. All references to YouTube and other trademarkedproperties are used in accordance with the Fair Use Doctrine and are not meant to imply that this book is a YouTube product for advertising or other com- mercial purposes. -
Mediax Research Project Update, Fall 2013
THE FUTURE OF CONTENT Contests as a catalyst for content creation: Contrasting cases to advance theory and practice UPDATE FALL 2013 FALL mediaX STANFORD UNIVERSITY mediaX connects businesses with Stanford University’s world-renowned faculty to study new ways for people and technology to intersect. We are the industry-affiliate program to Stanford’s H-STAR Institute. We help our members explore how the thoughtful use of technology can impact a range of fields, from entertainment to learning to commerce. Together, we’re researching innovative ways for people to collaborate, communicate and interact with the information, products, and industries of tomorrow. __________________________________________________________________ Contests as a catalyst for content creation: Contrasting cases to advance theory and practice Future of Content Project Update October 2013 __________________________________________________________________ Research Team: Brigid Barron, Associate Professor of Education; Caitlin K. Martin, Senior Researcher, Stanford YouthLab, Stanford Graduate School of Education (SGSE); Sarah Morrisseau, Researcher, Vital Signs Program; Christine Voyer, Researcher, Vital Signs Program; Sarah Kirn, Researcher, Vital Signs Program; Mohamed Yassine, Research Assistant, SGSE __________________________________________________________________ Background New generative platforms and increasing accessibility are changing the nature of who contributes content to the Web and how they do it. Networked learning communities offer young people opportunities to pursue interests and hobbies on their own time while letting them contribute to others’ learning by producing content, engaging in discussion and providing feedback. Qualitative research offers rich portraits of how contributing content actively to online communities can develop social networks, a sense of agency, technical skills, content knowledge and confidence in one’s ability to create (Ito et al., 2009; Barron, Gomez, Pinkard, Martin, in press; Jenkins, 2006). -
Understanding Affective Content of Music Videos Through Learned Representations
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Enlighten: Publications Understanding Affective Content of Music Videos Through Learned Representations Esra Acar, Frank Hopfgartner, and Sahin Albayrak DAI Laboratory, Technische Universitat¨ Berlin, Ernst-Reuter-Platz 7, TEL 14, 10587 Berlin, Germany {name.surname}@tu-berlin.de Abstract. In consideration of the ever-growing available multimedia data, anno- tating multimedia content automatically with feeling(s) expected to arise in users is a challenging problem. In order to solve this problem, the emerging research field of video affective analysis aims at exploiting human emotions. In this field where no dominant feature representation has emerged yet, choosing discrimi- native features for the effective representation of video segments is a key issue in designing video affective content analysis algorithms. Most existing affective content analysis methods either use low-level audio-visual features or generate hand-crafted higher level representations based on these low-level features. In this work, we propose to use deep learning methods, in particular convolutional neural networks (CNNs), in order to learn mid-level representations from auto- matically extracted low-level features. We exploit the audio and visual modality of videos by employing Mel-Frequency Cepstral Coefficients (MFCC) and color values in the RGB space in order to build higher level audio and visual represen- tations. We use the learned representations for the affective classification of music video clips. We choose multi-class support vector machines (SVMs) for classi- fying video clips into four affective categories representing the four quadrants of the Valence-Arousal (VA) space. -
The Musicless Music Video As a Spreadable Meme Video: Format, User Interaction, and Meaning on Youtube
International Journal of Communication 11(2017), 3634–3654 1932–8036/20170005 The Musicless Music Video as a Spreadable Meme Video: Format, User Interaction, and Meaning on YouTube CANDE SÁNCHEZ-OLMOS1 University of Alicante, Spain EDUARDO VIÑUELA University of Oviedo, Spain The aim of this article is to analyze the musicless music video—that is, a user-generated parodic musicless of the official music video circulated in the context of online participatory culture. We understand musicless videos as spreadable content that resignifies the consumption of the music video genre, whose narrative is normally structured around music patterns. Based on the analysis of the 22 most viewed musicless videos (with more than 1 million views) on YouTube, we aim, first, to identify the formal features of this meme video format and the characteristics of the online channels that host these videos. Second, we study whether the musicless video generates more likes, dislikes, and comments than the official music video. Finally, we examine how the musicless video changes the multimedia relations of the official music video and gives way to new relations among music, image, and text to generate new meanings. Keywords: music video, music meme, YouTube, participatory culture, spreadable media, interaction For the purposes of this research, the musicless video is considered as a user-generated memetic video that alters and parodies an official music video and is spread across social networks. The musicless video modifies the original meaning of the official-version music video, a genre with one of the greatest impacts on the transformation of the audiovisual landscape in the past 10 years. -
Youtube Nation
YouTube Nation Caroline Heldman Occidental College College professors have a front row seat to the latest youth addiction, the side effects of which include bloodshot eyes and late assignment. YouTube, the most popular video sharing website, is the newest media technology craze, and, like other web-based virtual communities (e.g., MySpace and Facebook), logging on has become part of the daily routine for millions of young people. This essay examines the political implications of YouTube. I begin with a brief description of its history, a profile of its users, and the company’s practices. I then analyze the potential political impact of YouTube using examples from the 2006 congressional election cycle, and conclude that this medium will change the face of campaigns in coming decades. Brief History of YouTube YouTube was started by Chad Hurley, Steve Chen, and Jawed Karim, three 20-something employees of PayPal, in order to share videos with their friends. The site was officially activated on February 15, 2005 to modest popularity, and nearly 20 million people now visit the site monthly (USA Today, 2006). Approximately 100 million videos are viewed on a daily basis, and about 65,000 videos are uploaded each day. YouTube is one of the fastest growing websites on the Net in terms of visitors, handily beating the competition, including Yahoo! Video Search, MSN Video Search, MySpace Video, and Google Video. YouTube currently enjoyed 43% of the video sharing market, as measured by number of “hits” (USA Today, 2006), and was named Time Magazine’s 2006 “Invention of the Year.” With fewer than 70 employees and modest operating costs, YouTube was sold for a considerable profit to Google for $1.65 billion in November of 2006. -
Quick Start Guide for the Live Blog Reporter Mobile
1 Log in 2 Find your blog 3 Open the Live Blog Reporter app. Once you log in, you’ll see a list of blogs where you’re a team member. On the log-in screen, enter the URL of your Live Quick start guide for the Blog instance, which is usually the name of Names in bold mean you have access; if they Live Blog Reporter mobile1 app: your live blog followed by .pro, for example:2 are in grey, it means you can’t work on3 that blog. folds down to phone size! DPA.liveblog.pro. Then enter your user name and password. Select the blog you want to work on. Get set up Before you start blogging, you’ll need to have the app installed on the mobile device you want to work from. Search for “Live Blog Reporter” in the iOS app store or in Google Play Download the app to your mobile device Next, make sure: You’re registered as a user for the live blog you want to work on You’re a team member for that blog You have the URL of your Live Blog instance as well as your user name and password Your mobile device has a reliable internet connection Learn your way around 4 Write your first post 5 Make your post shine 6 Editor - write a blog entry A blog post consists of various kinds of Format text as bold, italic, strikethrough or as Timeline - show a list of previous entries content blocks, including text and other media, a header. -
Vol. 4 the Scholarship Coach
vol. 4 The Scholarship Coach Posts from 6/14/12 - 12/06/12. Originally published by US News & World Report. THE SCHOLARSHIP COACH TABLE OF CONTENTS Find Your Passion, and Earn a Scholarship for It Find Scores of Music Scholarships for College.......................................................4 Become a Star with These Celebrity Scholarships....................................................6 Culinary Scholarships Serve Up Varied Career Opportunities. 8 Buckle Up for Auto Industry Scholarships...........................................................10 3 Steps to Finding Political Science Scholarships....................................................12 Your Scholarship “How-To’s” Don’t Fall for These 5 Scholarship Scams...........................................................14 Create Great Scholarship Applications with These 6 Answers. 16 ABOUT THE WRITERS ABOUT SCHOLARSHIP AMERICA 5 Ways to Manage High Cost of College Text books.................................................18 Janine Fugate Scholarship America believes that every student 10 More Twitter Handles for Scholarship Seekers....................................................20 Janine Fugate, the recipient of numerous scholarships deserves an opportunity to go to college, regardless of Don’t Drop the Ball On Early Scholarship Deadlines..................................................22 at both the undergraduate and graduate levels, holds a their financial status. Start Your Scholarship Search Here................................................................24 -
Youtube Report Draft V4
MONDAY, JULY 16 YouTube & News A new kind of visual journalism FOR FUTHER INFORMATION: Tom Rosenstiel, Director, Pew Research Center’s Project for Excellence in Journalism Amy Mitchell, Deputy Director, Pew Research Center’s Project for Excellence in Journalism (202) 419-3650 1515 L St, N.W., Suite 700 Washington, D.C. 20036 www.journalism.org YouTube & News: A New Kind of Visual Journalism Introduction On March 11, 2011, an earthquake registering 9.0 on the Richter scale struck the coast of northeastern Japan, triggering a tsunami that would kill more than 18,000 people and leave an estimated $180 billion in damage. The news media worldwide provided extensive coverage of the disaster and its aftermath, but millions of people also turned to the web to learn about the event on the video sharing website YouTube. 1 In the seven days following the disaster (March 11-18), the 20 most viewed news-related videos on YouTube all focused on the tragedy—and were viewed more than 96 million times. What people saw in these videos also represented a new kind of visual journalism. Most of that footage was recorded by citizen eyewitnesses who found themselves caught in the tragedy. Some of that video was posted by the citizens themselves. Most of this citizen-footage, however, was posted by news organizations incorporating user-generated content into their news offerings. The most watched video of all was shot by what appeared to be fixed closed-circuit surveillance camera at the Sendai airport. Link: http://www.youtube.com/watch?v=-DSSssHxm4Y The disaster in Japan was hardly a unique case. -
Translating Youtube Chemistry: an Analysis of Popular Science Based on Youtube Video Subtitles
Università degli Studi di Padova Dipartimento di Studi Linguistici e Letterari Corso di Laurea Magistrale in Lingue Moderne per la Comunicazione e la Cooperazione Internazionale Classe LM-38 Tesi di Laurea Translating YouTube Chemistry: An analysis of popular science based on YouTube video subtitles Relatrice Laureando Prof.ssa Maria Teresa Musacchio William Incani n° matr.1180184 / LMLCC Anno Accademico 2019 / 2020 Table of Contents Introduction ..................................................................................................................... 3 1. Popular science and advertising on the internet – Google and YouTube ................. 5 1.1 Language and science ....................................................................................................... 5 1.1.1 Translation as a decision-making process .................................................................................. 6 1.1.2 Remarkable adaptations and imprecise renditions ..................................................................... 7 1.1.3 The perception of language ...................................................................................................... 10 1.2 Communication through popularisation: an overview ................................................ 11 1.2.1 What is scholarly communication? .......................................................................................... 11 1.2.2 Learned societies as a catalyst for scholarly communication ................................................... 13 1.2.3 Citations