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Digital Watermarking Based on DCT Transform
A Survey of Digital Watermarking Technologies Lin Liu [email protected] Abstract: This report introduces the basic concepts in digital watermarking. Common watermarking technologies are reviewed. Some experiment results are provided as well. Index Terms: Digital watermarking, copyright protection 1. INTRODUCTION During the past decade, with the development of information digitalization and internet, digital media increasingly predominate over traditional analog media. However, as one of the concomitant side-effects, it is also becoming easier for some individual or group to copy and transmit digital products without the permission of the owner. The digital watermark is then introduced to solve this problem. Covering many subjects such as signal processing, communication theory and Encryption, the research in digital watermark is to provide copyright protection to digital products, and to prevent and track illegal copying and transmission of them. Watermarking is embedding information, which is able to show the ownership or track copyright intrusion, into the digital image, video or audio. Its purpose determines that the watermark should be indivisible and robust to common processing and attack. Currently the digital watermarking technologies can be divided into two categories by the embedding position——spatial domain and transform domain watermark. Spatial domain techniques developed earlier and is easier to implement, but is limited in robustness, while transform domain techniques, which embed watermark in the host’s transform domain, is more sophisticated and robust. With the development of digital watermarking, spatial techniques, due to their weakness in robustness, are generally abandoned, and frequency algorithm based on DCT or DWT becomes the research focus. Another tendency in watermarking is blind extraction, which means the host is not need when extracting the watermark; otherwise it is hard to avoid the multiple claims of ownerships. -
Digital Humanities
Miriam Posner Digital Humanities Chapter 27 DIGITAL HUMANITIES Miriam Posner Digital humanities, a relative newcomer to the media scholar’s toolkit, is notoriously difficult to define. Indeed, a visitor to www.whatisdigitalhumanities.com can read a different definition with every refresh of the page. Digital humanities’ indeterminacy is partly a function of its relative youth, partly a result of institutional turf wars, and partly a symptom of real disagreement over how a digitally adept scholar should be equipped. Most digital humanities practitioners would agree that the digital humanist works at the intersection of technology and the humanities (which is to say, the loose collection of disciplines comprising literature, art history, the study of music, media studies, languages, and philosophy). But the exact nature of that work changes depending on whom one asks. This puts the commentator in the uncomfortable position of positing a definition that is also an argument. For the sake of coherence, I will hew here to the definition of digital humanities that I like best, which is, simply, the use of digital tools to explore humanities questions. This definition will not be entirely uncontroversial, particularly among media scholars, who know that the borders between criticism and practice are quite porous. Most pressingly, should we classify scholarship on new media as digital humanities? New media scholarship is vitally important. But a useful classification system needs to provide meaningful distinctions among its domains, and scholarship on new media already has a perfectly good designation, namely new media studies (as outlined in Chapter 24 in this volume). So in my view, the difference between digital humanities and scholarship about digital media is praxis: the digital humanities scholar employs and thinks deeply about digital tools as part of her argument and research methods. -
Collaborative Approaches to Digital Humanities Projects
CHAPTER 2 TITLE Computing and Communicating Knowledge: Collaborative Approaches to Digital Humanities Projects AUTHORS Lisa Spiro OVERVIEW Two cultural and technological transformations are influencing the move toward collaborative digital humanities scholarship: (1) the abundance of data and (2) Web 2.0, or “the participatory web.” This chapter provides compelling examples of how humanities researchers are responding to these transformations and illustrates different approaches both to collaboration and to digital humanities research. Case studies of HyperCities, the Tibetan and Himalayan Library, the Orlando Project, and The Mind Is a Metaphor are presented based on semi-structured, hour-long interviews conducted with project leaders as well as analyses of articles and Web sites associated with the projects. In the chapter’s final section, the author examines the challenges that collaborative humanities researchers face and suggests how to better support this sort of work. TAGS collaborative, community, data, digital, humanities, information, knowledge, participatory, projects, research, scholarship, web 2.0 AUTHOR BIOGRAPHIES Lisa Spiro, director of the National Institute for Technology in Liberal Education Labs, works with the liberal arts community to explore emerging educational technologies and develop collaborative approaches to integrating learning, scholarship and technology. As part of her passion for tracking emerging educational technologies and analyzing their implications for research and teaching, she edits the Digital Research Tools (DiRT) wiki and authors the Digital Scholarship in the Humanities blog. Lisa’s recent publications include a report for the Council on Library and Information Resources (CLIR) analyzing the prospects for an all-digital academic library (with Geneva Henry), another CLIR report evaluating archival management software, and an essay examining how scholars use digital archives in American literature and culture (with Jane Segal). -
Game Studies' Material Turn
Game studies’ material turn Citation: Apperley, Thomas H and Jayemane, Darshana 2012, Game studies’ material turn, Westminster papers in communication and culture, vol. 9, no. 1, pp. 5-25. DOI: http://doi.org/10.16997/wpcc.145 © 2012, The Authors Reproduced by Deakin University under the terms of the Creative Commons Attribution Licence Downloaded from DRO: http://hdl.handle.net/10536/DRO/DU:30097395 DRO Deakin Research Online, Deakin University’s Research Repository Deakin University CRICOS Provider Code: 00113B WESTMINSTER PAPERS VOLUME 9 ISSUE 1 / OCTOBER 2012 GAME STUDIES’ MATERIAL TURN Thomas H. Apperley The University of Melbourne Darshana Jayemane The University of Melbourne This article argues that among the burgeoning approaches to game studies there is a crucial re-imagining of digital games in their material contexts across different scales and registers: the machine, the body and the situations of play. This re-imagining can be seen in a number of approaches: platform and software studies, which examine the materiality of code and/or the technological infrastructure through which it is enacted; critical studies of digital labour; and detailed ethnographic studies that examine the cultures of online worlds and situate gaming in relation to everyday practices. The article traces these three strands, focusing on how they demonstrate a heightening of the stakes in game studies research by providing access to scale and connecting digital games research to wider interdisciplinary contexts. KEYWORDS digital labour, ethnography, game studies, materiality, media ecologies, platform studies THOMAS H. APPERLEY: The University of Melbourne DARSHANA JAYEMANE: The University of Melbourne 4 55 WESTMINSTER PAPERS VOLUME 9 ISSUE 1 / OCTOBER 2012 GAME STUDIES’ MATERIAL TURN Thomas H. -
Hybridizing Learning, Performing Interdisciplinarity: Teaching Digitally in a Posthuman Age
Hybridizing Learning, Performing Interdisciplinarity: Teaching Digitally in a Posthuman Age Elizabeth Losh University of California, Irvine Humanities Instructional Building 188 U.C. Irvine, Irvine, CA 92697 USA 01-949-824-8130 [email protected] ABSTRACT students and learners perform knowledge work that appeals to the This paper discusses how Southern California serves as a site of broader public. regional advantage for developing new hybridized forms of Although many examples of interdisciplinary pedagogy come interdisciplinary pedagogy, because networks of educators in from studio art or computer science programs that combine art higher education are connected by local hubs created by and science paradigms of technê rather than epistêmê, there are intercampus working groups, multidisciplinary institutes funded also a number of notable local efforts in the “digital humanities” by government agencies, and philanthropic organizations that that bring students and teachers from many departments and fund projects that encourage implementation of instructional majors together from disciplines traditionally associated with print technologies that radically re-imagine curricula, student culture and the classical trivium. interaction, and the spaces and interfaces of learning. It describes ten trends in interdisciplinary pedagogy and case studies from For example, archeology and architecture students have explored four college campuses that show how these trends are being a life-sized computer-generated 3-D model of ancient Rome in a manifested. -
Bringing the Digital Humanities Into Reader's Advisory
Judging a Book By Its Cover: Bringing the Digital Humanities into Reader’s Advisory by Laura Michelle Gerlitz A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts and Master of Library and Information Studies Digital Humanities and Library and Information Studies University of Alberta © Laura Michelle Gerlitz, 2019 ii Abstract This study sets out to examine recurring themes found on book wrappers published by Harlequin in their first seventeen years as a form of marketing strategy. Through the use of specific image and text patterns that correspond to common themes found in paperback genres, Harlequin was able to appeal to targeted audiences, competing with other early reprint companies and eventually become the colossal modern publishing company of today. A unique approach using several digital humanities methods, namely text and image analyses, and data visualizations, will be employed to examine a special collection of several hundred wrappers. An interdisciplinary approach to research in book history will be taken, utilizing a blend of methods from digital humanities, and theories from library and information studies, humanities, and communication studies. The resulting patterns will be connected to reader’s advisory as appeal factors in successful book selection by readers. iii Preface This thesis is an original work by Laura Gerlitz. Portions of this thesis will be published in a future volume of the Bibliographical Society of Canada’s journal, Papers of the Bibliographical Society of Canada, as part of the Society’s Emerging Scholar Award for 2018. iv Acknowledgements I would like to thank a number of librarians, professors and other staff and individuals who supported me throughout these three years of research, without whom this thesis would not have been possible. -
Five Principles of New Media: Or, Playing Lev Manovich by Madeleine Sorapure
Five Principles of New Media: Or, Playing Lev Manovich by Madeleine Sorapure Introduction In The Language of New Media, Lev Manovich proposes five “principles of new media”—to be understood “not as absolute laws but rather as general tendencies of a culture undergoing computerization.” The five principles are numerical representation, modularity, automation, variability, and transcoding. I focus on Manovich’s work because I believe it effectively examines the materiality of new media—that is, the influence of the computer’s interface and operations, its logic and ontology, on the production, distribution, and reception of new media. This article offers an interactive explanation and demonstration of the five principles of new media, particularly as they apply to teaching writing, and drawing on work done by students in my Winter 2003 “Writing in New Media” course. Students in the course worked on three projects—two in Photoshop, one in Flash—and they wrote three project reports in which they commented on their own work as well as on theories of new media that we were reading and discussing in class. Text and images are included here with the students’ permission, along with links to some of the Flash projects they composed. The menu to the left allows you to navigate through the article. On all of the screens, you can rollover and/or click on buttons and images to make things happen and to make text visible. Directions at the top of each screen should help you determine how to proceed. 1. Numerical representation Because all new media objects are composed of digital code, they are essentially numerical representations. -
Warner.Review-1 Computable Culture and the Closure of the Media Paradigm William B. Warner Director, the Digital Cultures Projec
Warner.review-1 Computable Culture and the Closure of the Media Paradigm William B. Warner Director, the Digital Cultures Project Department of English University of California, Santa Barbara Santa Barbara, CA 93106 [email protected] Review of: Lev Manovich, _The Language of New Media_. Cambridge, MA: MIT Press, 2000. [1] Most scholars of modern media now agree that the shift of symbolic representation to a global digital information network is as systemic and pervasive a mutation, and as fraught with consequences for culture, as the shift from manuscript to print. Any one who wants to think clearly about the cultural implications of the digital mutation should read Lev Manovich’s new book, _The Language of New Media_. This book offers the most rigorous definition to date of new digital media; it places its object of attention within the most suggestive and broad-ranging media history since Marshall McLuhan; finally, by showing how software takes us beyond the constraints of any particular media substrate--paper, screen, tape, film, etc.--this book overcomes the media framework indexed by its own title. _The Language of New Media_ leads its reader to confront what is strange yet familiar, that is, *uncanny*, about the computable culture we have begun to inhabit. [2] Before characterizing Manovich in greater detail, it is helpful to say what this book is *not*. Pragmatically focused upon the present contours of computable media, Lev Manovich is neither a prophet nor doomsayer, peddling neither a utopian manifesto nor dystopian warnings. Manovich also eschews the conceptual purity of those cultural critics who set out to show how new digital media realizes the program of…Gilles Deleuze, Jean Baudrillard, Jacques Derrida (insert your favorite theorist). -
Envisioning the Future of Computational Media the Final Report of the Media Systems Project Convening Partners
Envisioning the Future of Computational Media The Final Report of the Media Systems Project Convening Partners Convening Hosts For videos of talks and more, visit mediasystems.soe.ucsc.edu Envisioning the Future of Computational Media The Final Report of the Media Systems Project Report Authors NOAH WARDRIP-FRUIN Associate Professor, Department of Computer Science Co-Director, Expressive Intelligence Studio Director, Digital Art and New Media MFA Program University of California, Santa Cruz MIchAEL MATEAS Professor, Department of Computer Science Co-Director, Expressive Intelligence Studio Director, Center for Games and Playable Media University of California, Santa Cruz © 2014 Noah Wardrip-Fruin and Michael Mateas. Published by the Center for Games and Playable Media at the University of California, Santa Cruz. Text is licensed under a Creative Commons Attribution 4.0 International License. For more information on this license, see http:// creativecommons.org/licenses/by/4.0/. Images are copyright their respective creators and not covered by Creative Commons license. Design by Jacob Garbe in InDesign using Nexa Bold and Arial. This material is based upon a workshop supported by the National Science Foundation (under Grant Number 1152217), the National Endowment for the Humanities’ Office of Digital Humanities (under Grant Number HC-50011-12), the National Endowment for the Arts’ Office of Program Innovation, Microsoft Studios, and Microsoft Research.Any opinions, findings, and conclusions or recommendations expressed in this material -
DIGITAL Media Players Have MEDIA Evolved to Provide PLAYERS a Wide Range of Applications and Uses
2011-2012 Texas 4-H Study Guide - Additional Resources DigitalDIGITAL media players have MEDIA evolved to provide PLAYERS a wide range of applications and uses. They come in a range of shapes and sizes, use different types of memory, and support a variety of file formats. In addition, digital media players interface differently with computers as well as the user. Consideration of these variables is the key in selecting the best digital media player. In this case, one size does not fit all. This guide is intended to provide you, the consumer, with information that will assist you in making the best choice. Key Terms • Digital Media Player – a portable consumer electronic device that is capable of storing and playing digital media. The data is typically stored on a hard drive, microdrive, or flash memory. • Data – information that may take the form of audio, music, images, video, photos, and other types of computer files that are stored electronically in order to be recalled by a digital media player or computer • Flash Memory – a memory chip that stores data and is solid-state (no moving parts) which makes it much less likely to fail. It is generally very small (postage stamp) making it lightweight and requires very little power. • Hard Drive – a type of data storage consisting of a collection of spinning platters and a roving head that reads data that is magnetically imprinted on the platters. They hold large amounts of data useful in storing large quantities of music, video, audio, photos, files, and other data. • Audio Format – the file format in which music or audio is available for use on the digital media player. -
Digital Media: Rise of On-Demand Content 2 Contents
Digital Media: Rise of On-demand Content www.deloitte.com/in 2 Contents Foreword 04 Global Trends: Transition to On-Demand Content 05 Digital Media Landscape in India 08 On-demand Ecosystem in India 13 Prevalent On-Demand Content Monetization Models 15 On-Demand Content: Music Streaming 20 On-Demand Content: Video Streaming 28 Conclusion 34 Acknowledgements 35 References 36 3 Foreword Welcome to the Deloitte’s point of view about the rise key industry trends and developments in key sub-sectors. of On-demand Content consumption through digital In some cases, we seek to identify the drivers behind platforms in India. major inflection points and milestones while in others Deloitte’s aim with this point of view is to catalyze our intent is to explain fundamental challenges and discussions around significant developments that may roadblocks that might need due consideration. We also require companies or governments to respond. Deloitte aim to cover the different monetization methods that provides a view on what may happen, what could likely the players are experimenting with in the evolving Indian occur as a consequence, and the likely implications for digital content market in order to come up with the various types of ecosystem players. most optimal operating model. This publication is inspired by the huge opportunity Arguably, the bigger challenge in identification of the Hemant Joshi presented by on-demand content, especially digital future milestones about this evolving industry and audio and video in India. Our objective with this report ecosystem is not about forecasting what technologies is to analyze the key market trends in past, and expected or services will emerge or be enhanced, but in how they developments in the near to long-term future which will be adopted. -
Thinking Critically About and Researching Algorithms Rob Kitchin NIRSA, National University of Ireland Maynooth, County Kildare, Ireland
INFORMATION, COMMUNICATION & SOCIETY, 2017 VOL. 20, NO. 1, 14–29 http://dx.doi.org/10.1080/1369118X.2016.1154087 Thinking critically about and researching algorithms Rob Kitchin NIRSA, National University of Ireland Maynooth, County Kildare, Ireland ABSTRACT ARTICLE HISTORY More and more aspects of our everyday lives are being mediated, Received 30 September 2015 augmented, produced and regulated by software-enabled Accepted 10 February 2016 technologies. Software is fundamentally composed of algorithms: sets of defined steps structured to process instructions/data to KEYWORDS Algorithm; code; produce an output. This paper synthesises and extends emerging epistemology; methodology; critical thinking about algorithms and considers how best to research research them in practice. Four main arguments are developed. First, there is a pressing need to focus critical and empirical attention on algorithms and the work that they do given their increasing importance in shaping social and economic life. Second, algorithms can be conceived in a number of ways – technically, computationally, mathematically, politically, culturally, economically, contextually, materially, philosophically, ethically – but are best understood as being contingent, ontogenetic and performative in nature, and embedded in wider socio-technical assemblages. Third, there are three main challenges that hinder research about algorithms (gaining access to their formulation; they are heterogeneous and embedded in wider systems; their work unfolds contextually and contingently), which require practical and epistemological attention. Fourth, the constitution and work of algorithms can be empirically studied in a number of ways, each of which has strengths and weaknesses that need to be systematically evaluated. Six methodological approaches designed to produce insights into the nature and work of algorithms are critically appraised.