Uva-DARE (Digital Academic Repository)

Total Page:16

File Type:pdf, Size:1020Kb

Uva-DARE (Digital Academic Repository) UvA-DARE (Digital Academic Repository) Video Vortex reader II: moving images beyond YouTube Lovink, G.; Somers Miles, R. Publication date 2011 Document Version Final published version Link to publication Citation for published version (APA): Lovink, G., & Somers Miles, R. (2011). Video Vortex reader II: moving images beyond YouTube. (INC reader; No. 6). Institute of Network Cultures. http://www.networkcultures.org/_uploads/%236reader_VideoVortex2PDF.pdf General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:07 Oct 2021 Video Vortex Reader II MOVING IMAGES BEYOND YOUTUBE 2 Video Vortex Reader II MOVING ImAGES BEYOND YOUTUBE MOVING ImAGES BEYOND YOUTUBE 3 Video Vortex Reader II: moving images beyond YouTube Editors: Geert Lovink and Rachel Somers Miles Copy Editor: Nicole Heber Design: Katja van Stiphout Cover Image: Team Thursday, Rotterdam Printer: Ten Klei, Amsterdam Video Publisher: Institute of Network Cultures, Amsterdam 2011 ISBN: 978-90-78146-12-4 Vortex Contact Reader II Institute of Network Cultures phone: +3120 5951866 MOVING fax: +3120 5951840 email: [email protected] IMAGES web: http://www.networkcultures.org BEYOND Order a copy of this book by sending an email to: [email protected] YOUTUBE EDITED BY A PDF of this publication can be downloaded freely at: GEERT LOviNK AND http://www.networkcultures.org/publications/inc-readers RACHEL SOMERS MilES Join the Video Vortex mailing list at: http://www.listcultures.org INC READER #6 Supported by: the School for Communication and Design at the Amsterdam University of Applied Sciences (Hogeschool van Amsterdam DMCI). The Video Vortex Reader is produced as part of the Culture Vortex research program, which is supported by Foundation Innovation Alliance (SIA - Stichting Innovatie Alliantie). Thanks to Andreas Treske, Dan Oki, Bram Crevits and the Video Vortex Steering Committee for their valuable input and editorial support. Thanks to our Culture Vortex partners: MediaLAB Amsterdam, Netherlands Institute for Sound and Vision, Netherlands Media Art Institute, Virtueel Platform, VPRO, Amsterdam City Archives, Museum Boijmans van Beuningen, IDFA, and the Urban Screens Association. (http://networkcultures.org/culturevortex/) Special thanks to all the authors for their contributions, and to Nicole Heber for her copy editing. This publication is licensed under the Creative Commons Attribution Noncommercial No Derivative Works 3.0 Netherlands License. To view a copy of this license, visit: http://creativecommons.org/licenses/by-nc-nd/3.0/nl/deed.en No article in this reader may be reproduced in any form by any electronic or mechanical means without permission in writing from the author. 4 Video Vortex Reader II MOVING ImAGES BEYOND YOUTUBE MOVING ImAGES BEYOND YOUTUBE 5 CONTENTS Geert Lovink Engage in Destiny Design: Online Video Beyond Hypergrowth: The INC reader series are derived from conference contributions and produced by the Introduction to Video Vortex Reader II 9 Institute of Network Cultures. They are available in print and PDF form. THEORY & AESTHETICS Video Vortex Reader II is the sixth publication in the series. Stefan Heidenreich Vision Possible: A Methodological Quest for Online Video 13 Previously published INC Readers: Andreas Treske INC Reader #5: Scott McQuire, Meredith Martin and Sabine Niederer (eds), Frames within Frames - Windows and Doors 25 Urban Screens Reader, 2009. Robrecht Vanderbeeken This reader is the first book to focus entirely on the topic of urban screens. Offering Web Video and the Screen as a Mediator and Generator of Reality 35 texts from a range of leading theorists to case studies on artist projects, as well as Vito Campanelli screen operators’ and curators’ experiences, this collection offers a rich resource for The DivX Experience 51 exploring the intersections of digital media, cultural practices and urban space. Sarah Késenne Regarding the Sex, Lies and Videotapes of Others: Memory, Counter-Memory, INC Reader #4: Geert Lovink and Sabine Niederer (eds), and Mystified Relations 61 Video Vortex Reader: Responses to YouTube, 2008. ImAGES ON THE MOVE This reader is a collection of critical texts dealing with the rapidly emerging world Gabriel Menotti of online video – from its explosive rise in 2005 with YouTube, to its future as Objets Propagés: The Internet Video as an Audiovisual Format 70 a significant form of personal media. Andrew Gryf Paterson INC Reader #3: Geert Lovink and Ned Rossiter (eds), From a Pull-down Screen, Fold-up Chairs, a Laptop and a Projector: The Development of Clip Kino Screenings, Workshops and Roles in Finland 81 MyCreativity Reader: A Critique of Creative Industries, 2007. This reader is a collection of critical research into the creative industries. The material Jan Simons develops out of the MyCreativity convention on International Creative Industries Re- Between iPhone and YouTube: Movies on the Move? 95 search held in Amsterdam, November 2006. This two-day conference sought to bring COLLECTION CASE STUDIES the trends and tendencies around the creative industries into critical question. Sandra Fauconnier Video Art Distribution in the Era of Online Video 108 INC Reader #2: Katrien Jacobs, Marije Janssen and Matteo Pasquinelli (eds), Evelin Stermitz C’LICK ME: A Netporn Studies Reader, 2007. ArtFem.TV: Feminist Artistic Infiltration of a Male Net Culture 126 This anthology collects the best material from two years of debate from ‘The Art and Mél Hogan Politics of Netporn’ 2005 conference to the 2007 ‘C’LICK ME’ festival. The C’LICK ME Crashing the Archive/Archiving the Crash: The Case of SAW Video’s Mediatheque 132 reader opens the field of ‘internet pornology’, with contributions by academics, artists and activists. Teague Schneiter Ethical Presentation of Indigenous Media in the Age of Open Video: Cultivating Collaboration, Sovereignty and Sustainability 147 INC Reader #1: Geert Lovink and Soenke Zehle (eds), Incommunicado Reader, 2005. ASIA ONLINE The Incommunicado Reader brings together papers written for the June David Teh 2005 conference ‘Incommunicado: Information Technology for Everybody The Video Agenda in Southeast Asia, or, ‘Digital, So Not Digital’ 162 Else’. The publication includes a CD-ROM of interviews with speakers. Ferdiansyah Thajib, Nuraini Juliastuti, Andrew Lowenthal and Alexandra Crosby A Chronicle of Video Activism and Online Distribution in Post-New Order Indonesia 178 Download a free PDF of the readers from: Larissa Hjorth www.networkcultures.org/publications/inc-readers Still Mobile: Networked Mobile Media, Video Content and Users in Seoul 195 6 Video Vortex Reader II MOVING ImAGES BEYOND YOUTUBE MOVING ImAGES BEYOND YOUTUBE 7 TECHNOLOGICAL APPROACHES Matthew Williamson Degeneracy in Online Video Platforms 211 Andrew Clay Blocking, Tracking, and Monetizing: YouTube Copyright Control and the Downfall Parodies 219 Tara Zepel Cultural Analytics at Work: The 2008 U.S. Presidential Online Video Ads 234 Rachel Somers Miles Free, Open and Online: An Interview with Denis Roio aka Jaromil 250 Alejandro Duque Streaming Counter Currents: ‘W.A.S.T.E’ 258 POLITICS & HUMAN RIGHTS Sam Gregory Cameras Everywhere: Ubiquitous Video Documentation of Human Rights, New Forms of Video Advocacy, and Considerations of Safety, Security, Dignity and Consent 268 Elizabeth Losh Shooting for the Public: YouTube, Flickr, and the Mavi Marmara Shootings 283 ONLINE VIDEO ArT Brian Willems Increasing the Visibility of Blindness: Natalie Bookchin’s Mass Ornament 293 Natalie Bookchin and Blake Stimson Out in public: Natalie Bookchin in Conversation with Blake Stimson 306 Linda Wallace non-western and garland 318 Perry Bard When Film and Database Collide 322 Cecilia Guida YouTube as a Subject: Interview with Constant Dullaart 330 Rosa Menkman Glitch Studies Manifesto 336 Albert Figurt The Thin Line Between On and Off: a (re:)cyclothymic exploration 348 APPENDICES Video Vortex Conferences 356 Video Vortex III in Ankara Video Vortex IV in Split Video Vortex V in Brussels Video Vortex VI in Amsterdam Author Biographies 372 8 Video Vortex Reader II MOVING ImAGES BEYOND YOUTUBE MOVING ImAGES BEYOND YOUTUBE 9 ENGAGE IN DESTINY DESigN: ONliNE VidEO BEYOND HYPErgrOWTH INTRODUCTION TO VIDEO VORTEX READER II GEERT LOviNK ‘The automatic carriage-return on the typewriter, electronic central locking of cars: these are the things that count. The rest is just theory and literature’. – Jean Baudrillard 1 This second Video Vortex Reader marks the transition of online video into the mainstream. Staggering statistics of hypergrowth no longer impress us. Discussing a possible online video project for the first time in late 2006 in Melbourne with Seth Keen, the topic
Recommended publications
  • Working with Digital Video
    Working with digital video By admin Published: 10/04/2007 - 08:35 Peter Westenberg , October 2007 Working with digital video is part of many artistic disciplines. Besides single screen narratives, video productions can range from animation, multiple screen installation to interactive work. Still, many aspects of digital video can be traced back to the history of film. The interface of a timeline editing software such as Cinelerra [1] shows a multitrack timeline, a viewing monitor, a bin for clips; echoing the setup of a flatbed table for editing celluloid. A dual head set up Cinelerra work station The physical materiality of film and video are fundamentaly different: celluloid versus pixels, chemicals versus algorhytms, but the relationship between film and video has mutually matured. As outlined by Matt Hanson [1b] , video expands cinematographic traditions in new directions, filmmakers can benefit from digitisation by reclaiming the central position of creativity in the film process, as pointed out by Samira Makhmalbaf. [1c] 1 / 28 An 'Old Delft Cinemonta' 16mm editing table in use at the Filmwerkplaats in Rotterdam Digital video also roots in artistic practices of the sixties and seventies. [1a] Artists started using video to capture temporary performances (Joan Jonas [2] , Vito Acconci [3] ), they integrated video monitors in installations (Nam June Paik [4] ), experimented with filters and mixing in video paintings (Peter Campus [5] ). Compared to film cameras, video cameras had a strong feature: it became possible connect a monitor and view directly what the camera recorded. Today, artists can use softwares such as Lives [5] , Jahshaka [6] , Zone Minder [7] or Pure Data [8] and Linux distributions aimed at audio and visual creation such as Dyne:bolic [9] Apodio [10] and Ubuntu Studio [11] to further explore the possibilities of real time video, multiple camera input and live interaction.
    [Show full text]
  • Introducción
    Introducción En esta primera parte pondré todos las librerías y programas que suelo instalar en Fedora 30, en la segunda parte haré una configuración del entorno de trabajo (fstab, crontab, .ssh, etc) • RPMFusion • Librerias basicas • Compilación • Compresión • Codecs • DVD’s • Programas basicos • HP • Insync • Pandoc y Latex • Spotify • Atom • Visual Studio Code • Skype • Teamviewer • Dropbox • Gitkraken • Pycharm • Telegram • Eclipse • Docker y Docker-Compose • Google Chrome • Google Music • system-config-samba • Drivers Nvidia • Peek • Sublime Text 3 y Sublime Merge • OpenRazer y Polychromatic Importante Primero tenemos que instalar los drivers de nvidia que están en la sección Drivers nvidia Actualización inicial Lo primero que hay que hacer es actualizar el sistema y lo reiniciamos, posiblemente haya una gran cantidad de paquetes a actualizar, junto con la actualización del kernel por lo que después es bueno hacer un reinicio del sistema. sudo dnf update reboot Eliminar programas no necesarios sudo dnf remove dragon calligra-core Añadir repositorio RPMFusion Este repositorio es necesario para varios paquetes que instalaremos después (contiene programas importantes y paquetes nonfree). sudo dnf -y install https://download1.rpmfusion.org/free/fedora/rpmfusion-free-release-$(rpm -E %fedora).noarch.rpm Paquetes y librerías que mas uso Conjunto de librerías y utilidades básicas, traducciones de programas a español, corrector ortográficos, etc. 1 sudo dnf -y install kde-i18n-Spanish mythes-es hyphen-es autocorr-es hunspell-es langpacks-es
    [Show full text]
  • 2015 Open Source Yearbook
    Opensource.com/yearbook . ........ OPENSOURCE.COM ................... Opensource.com publishes stories about creating, adopting, and sharing open source solutions. Visit Opensource.com to learn more about how the open source way is improving technologies, education, business, government, health, law, entertainment, humanitarian efforts, and more. Submit a story idea: https://opensource.com/story Email us: [email protected] Chat with us in Freenode IRC: #opensource.com Twitter @opensourceway: https://twitter.com/opensourceway Google+: https://plus.google.com/+opensourceway Facebook: https://www.facebook.com/opensourceway Instagram: https://www.instagram.com/opensourceway FROM THE EDITOR ............................. Dear Open Source Yearbook reader, The “open source” label was created back in 1998, not long after I got my start in tech publishing [1]. Fast forward to late 2014, when I was thinking about how much open source technologies, commu- nities, and business models have changed since 1998. I realized that there was no easy way—like a yearbook—to thumb through tech history to get a feel for open source. Sure, you can flip through the virtual pages of a Google search and read the “Best of” lists collected by a variety of technical publications and writers, much like you can thumb through newspapers from the 1980s to see the how big we wore our shoulder pads, neon clothing, and hair back then. But neither research method is particularly efficient, nor do they provide snapshots that show diversity within communities and moments of time. The idea behind the Open Source Yearbook is to collaborate with open source communities to collect a diverse range of stories from the year.
    [Show full text]
  • Trabajo Final De Carrera : Compiladores
    Trabajo Final de Carrera - Compiladores Enrique Marquet Durán Ingeniería en Informática Gerard Enrique Manonellas 09/01/2015 Resumen del proyecto El objetivo de este proyecto final de carrera es el estudio del formato ODF (OpenDocument Format), para permitirnos la extracción de texto con la finalidad de transformarlo en texto hablado y guardar el resultado en un archivo de audio. De los diferentes tipos de documentos que utilizan este estándar ODF nos centraremos en los de tipo texto, que tienen extensión odt. Para poder realizar una pequeña aplicación que cumpliera con el objetivo del proyecto se ha tenido que realizar un estudio de las diferentes tecnologías involucradas en esta cruzada. La primera de las tecnologías que hemos estudiado ha sido el formato del XML y las herramientas que hay para su validación, centrándonos en las DTD. Hay que tener en cuenta que la arquitectura de los archivos OpenDocument está basada en XML, ya que se trata de un archivo comprimido (tipo ZIP) formado por diversos ficheros con este formato, como se verá en el apartado de estudio correspondiente. Después también se ha realizado un estudio de los diferentes formatos de audio existentes en el mercado, no ha sido un estudio muy técnico, si no que se ha centrado más en ver qué se podía encontrar actualmente y qué diferencias existen entre ellos, para después poder utilizar un formato en la aplicación que se realizaría. Por último se ha estudiado la tecnología Text-To-Speech (conversión de texto-voz), que está muy ligada a la lingüística. En este apartado se ha visto las diferentes posibilidades que hay para realizar el proceso de conversión, así como las diferentes herramientas que hay en el mercado que lo realizan, también se buscaron librerías que permitieran realizar este proceso para introducirlo en nuestra aplicación resultante del estudio.
    [Show full text]
  • Openshot Video Editor Manual – V1.4 Weiter
    OpenShot Video Editor Manual – v1.4 Weiter 02 Einführung 05 Erste Schritte 06 Beherrschen Sie OpenShot in fünf Minuten! 09 Hauptfenster 16 Keyboard Shortcuts 17 Projekte - Erstellen, Öffnen und Speichern 21 Dateien importieren - Audio, Video und Bilder 23 Bildsequenzen 27 Verwalte Dateien & Ordner 29 Dateien zur Zeitleiste hinzufügen 32 Bewegen & Zuschneiden von Ausschnitte auf der Zeitleiste 34 Audio von Video trennen 35 Clip duplizieren 36 Clip-Eigenschaften 43 Schlüsselbild 46 Bildausschnitt-Effekt 47 Rotationseffekt 49 Titelbearbeitung 53 Bearbeitung für Titelanimationen 55 Übergänge 58 Liste der Transitionen. 62 Effekte 65 Effekt-Listen 69 Video exportieren 72 Video hochladen 74 Export to XML 75 Projekttyp / Profile 76 Einstellungen 77 Dependencies 79 Become an OpenShot Developer 82 Über OpenShot Weiter OpenShot Video Editor Manual – v1.4 1 OpenShot Video Editor Manual – v1.4 » Einführung Zurück Weiter OpenShot Video Editor ist ein Programm, das entwickelt wurde, um unter Linux Videos erstellen und schneiden zu können. Man kann auf einfache Weise Video-Clips, Audio-Dateien und Fotos zu einem Projekt verbinden und anschließend in viele gebräuchliche Video-Formate exportieren. OpenShot ist eine nicht lineare Schnittsoftware, was heißt, dass man zu jeder Zeit zu jedem Frame im Video springen kann, und dennoch Ebenen angelegt, Clips gemischt und sehr kreativ zusammengestellt werden können. Alle Veränderungen sind nondestruktiv, das zugrundeliegende Videomaterial wird also zu keinem Zeitpunkt verändert. Man kann OpenShot benutzen um Dia-Shows zu erstellen, Home-Videos zu schneiden, Fernsehwerbung und Online-Filme zu erstellen und auch sonst für alles andere, was man sich nur vorstellen kann. Feature Übersicht: Screenshot Feature Übersicht: 1. Unterstützung vieler Video-, Audio- und Bildformate (basierend auf FFmpeg) 2.
    [Show full text]
  • Ffmpeg - the Universal Multimedia Toolkit
    Introduction Resume Resources FFmpeg - the universal multimedia toolkit Appendix Stefano Sabatini mailto:[email protected] Video Vortex #9 Video Vortex #9 - 1 March, 2013 1 / 13 Description Introduction Resume Resources multiplatform software project (Linux, Mac, Windows, Appendix Android, etc...) Comprises several command line tools: ffmpeg, ffplay, ffprobe, ffserver Comprises C libraries to handle multimedia at several levels Free Software / FLOSS: LGPL/GPL 2 / 13 Objective Introduction Resume Provide universal and complete support to multimedia Resources content access and processing. Appendix decoding/encoding muxing/demuxing streaming filtering metadata handling 3 / 13 History Introduction 2000: Fabrice Bellard starts the project with the initial Resume aim to implement an MPEG encoding/decoding library. Resources The resulting project is integrated as multimedia engine Appendix in MPlayer, which also hosts the project. 2003: Fabrice Bellard leaves the project, Michael Niedermayer acts as project maintainer since then. March 2009: release version 0.5, first official release January 2011: a group of discontented developers takes control over the FFmpeg web server and creates an alternative Git repo, a few months later a proper fork is created (Libav). 4 / 13 Development model Source code is handled through Git, tickets (feature requests, bugs) handled by Trac Introduction Resume Patches are discussed and approved on mailing-list, Resources and directly pushed or merged from external repos, Appendix trivial patches or hot fixes can be pushed directly with no review. Every contributor/maintainer reviews patches in his/her own area of expertise/interest, review is done on a best effort basis by a (hopefully) competent developer. Formal releases are delivered every 6 months or so.
    [Show full text]
  • Volume 2 – Vidéo Sous Linux
    Volume 2 – Vidéo sous linux Installation des outils vidéo V6.3 du 20 mars 2020 Par Olivier Hoarau ([email protected]) Vidéo sous linux Volume 1 - Installation des outils vidéo Volume 2 - Tutoriel Kdenlive Volume 3 - Tutoriel cinelerra Volume 4 - Tutoriel OpenShot Video Editor Volume 5 - Tutoriel LiVES Table des matières 1 HISTORIQUE DU DOCUMENT................................................................................................................................4 2 PRÉAMBULE ET LICENCE......................................................................................................................................4 3 PRÉSENTATION ET AVERTISSEMENT................................................................................................................5 4 DÉFINITIONS ET AUTRES NOTIONS VIDÉO......................................................................................................6 4.1 CONTENEUR................................................................................................................................................................6 4.2 CODEC.......................................................................................................................................................................6 5 LES OUTILS DE BASE POUR LA VIDÉO...............................................................................................................7 5.1 PRÉSENTATION.............................................................................................................................................................7
    [Show full text]
  • Lives Video Editor
    GABRIEL FINCH LiVES: LiVES is a Video Editing System RECIFE-PE – JULHO/2013. UNIVERSIDADE FEDERAL RURAL DE PERNAMBUCO PRÓ-REITORIA DE PESQUISA E PÓS-GRADUAÇÃO PROGRAMA DE PÓS-GRADUAÇÃO EM INFORMÁTICA APLICADA LiVES: LiVES is a Video Editing System Dissertação apresentada ao Programa de Pós-Graduação em Informática Aplicada como exigência parcial à obtenção do título de Mestre. Área de Concentração: Engenharia de Software Orientador: Prof. Dr. Giordano Ribeiro Eulalio Cabral RECIFE-PE – JULHO/2013. Ficha Catalográfica F492L Finch, Gabriel LiVES: LiVES is a video editing system / Gabriel Finch. -- Recife, 2013. 132 f. Orientador (a): Giordano Cabral. Dissertação (Mestrado em Informática Aplicada) – Universidade Federal Rural de Pernambuco, Departamento de Estatísticas e Informática, Recife, 2013. Inclui referências e apêndice. 1. Software - Desenvolvimento 2. Prototipagem 3. Multimídia 4. Usuários de computador 5. Vídeo digital I. Cabral, Giordano, orientador II. Título CDD 005.1 ACKNOWLEDGEMENTS The author would like to thank: The staff and students at UFRPE. All the LiVES users and contributors. My family. and the following, who have helped along the way: Niels Elburg, Denis "Jaromil" Rojo, Tom Schouten, Andraz Tori, Silvano "Kysucix" Galliani, Kentaro Fukuchi, Dr. Jun Iio, Oyvind Kolas, Carlo Prelz, Yves Degoyon, Lady Xname, timesup.org, LinuxFund, VJ Pixel, estudiolivre, mediasana, Felipe Machado, elphel.com. RESUMO Relativamente pouca pesquisa científica tem sido executado até à data atinente aos requisitos dos usuários de aplicativos de processamento de vídeo. Nesta dissertação, apresentamos um novo termo "Experimental VJ", e examinamos os requisitos de software para essa classe de usuário, derivados de uma variedade de fontes. Por meios desses requisitos, definimos os atributos que seria necessário um programa criado para satisfazer essas demandas possuir.
    [Show full text]
  • Videoredaktori Kdenlive Lühike Kasutamisjuhend
    Arvo Mägi Videoredaktori Kdenlive lühike kasutamisjuhend Tallinn, 2009 Saateks Videokaamerate hinnad on langenud ja turisti käes näeb videokaamerat juba peaaegu sama tihti kui digifotokaamerat. Videoredaktor on seetõttu tänapäeval muutumas sama tähtsaks rakendusprogrammiks kui fotoredaktor. Linuxi jaoks on mitmeid videoredaktoreid (Kino, Cinerella, LiVES jt), kuid seni on nende kvaliteet ja/või kasutamismugavus jätnud soovida. Üheks paremaks Linuxi videoredaktoriks on kujunemas Kdenlive. Kdenlive on koostatud KDE 4.x töölaua jaoks, kuid seda võib edukalt kasutada ka Ubuntu GNOME töölauaga. Kdenlive 0.7.6 versioon ilmus 08.10.09. Vanemaid versioone enam ei toetata. Kiire arendustöö tõttu ei ole korralikku dokumentatsiooni veel jõutud koostada, vähene olemas olev on enamasti vananenud. Kdenlive on mittelineaarne (non-linear) videoredaktor, st selle abil saab videot redigeerida alates suvalisest kaadrist. Üldine töö põhimõte on järgmine. Kaamera kõvakettalt või mälukaardilt laetakse vajalikud failid arvuti kõvakettale. Sealt laetakse käesoleva projekti jaoks vajalikud videofailid projektiakna failinimistusse. Lisaks videofailidele saab projektis kasutada ka üksikslaide (fotosid) ja slaidikomplekte (slaidiesitusi), tekstiga tiitelslaide ja helifaile (nt taustamuusika). Projektiaknas pukseeritakse vajalikud failid ajatelje (timeline) paralleelsetele radadele - nt rajale 0 tiitelslaid, mis peab algama ajatelje nullpunktist; radadele 1 ja 2 üks või mitu videoklippi; radadele 3 ja 4 helifailid (need rajad on vaikimisi ette nähtud helifailide
    [Show full text]
  • An Assessment of Psychoacoustical Models in The
    Abstract A simple system for recognizing music is presented, based on various musical descriptors, num- bers that describe some aspect of the music. Various descriptors are discussed; in particular, a novel descriptor, the floor-1 cepstral coefficient (F1CC) measure, a refinement of MFCCs based on the Vorbis psychoacoustical model is presented and evaluated. Also, various forms of statistical dimensionality reduction, among them PCA and LDA, are considered in the present context. Finally, a few directions for future work are discussed. vii viii Acknowledgments First of all, I would like to thank my advisor Jan Tro, who patiently provided feedback and guidance over the course of the entire semester. However, several other people have played important roles: Greg Maxwell originally proposed the idea that eventually led to the develop- ment of F1CCs, and Chris Montgomery provided helpful guidance on the internals of the Vorbis encoder. Mette Langaas helped with various insights on statistics, in particular dimensionality reduction. H˚avard Midtkil provided his entire music collection in FLAC format as data mate- rial, saving countless hours of ripping labor. Finally, Rune Holm and Magne Mæhre proofread the manuscript at various stages, providing invaluable feedback, corrections and suggestions. ix x Contents Abstract vii Acknowledgments ix Contents xi 1 Introduction 1 1.1 MusicInformationRetrieval . ....... 1 1.2 Aimofstudy ...................................... 2 1.3 Structure ....................................... 2 1.4 Previouswork.................................... 2 2 Audio descriptors 5 2.1 Motivation ...................................... 5 2.2 Formaldescription ............................... .... 5 2.3 Desiredproperties ............................... .... 6 2.4 Distortionandnoise .............................. .... 7 2.5 Choiceofsourcefragment . ..... 9 2.6 Basicmusicaldescriptors . ...... 9 2.7 Humandescriptors ................................ 13 3 Mel frequency cepstral coefficients (MFCC) 15 3.1 Psychoacoustical motivation .
    [Show full text]
  • The Current State of Linux Video Production Software and Its Developer Community
    The Current State of Linux Video Production Software and its Developer Community Richard Spindler Schönau 75 6323, Bad Häring, Austria [email protected] Abstract At the time it was started, there were two potential applications available that could have According to Linux and Open Source/Free been used instead of starting a new project. Those Software thought leaders, the current situation in 1 2 Linux video editing and production software still two options were Cinelerra and Kino which were leaves a lot to be desired. Here we give an accurate already quite mature and widely used at that time. overview of the software that is already being However for the needs of the author, Kino was too developed for Linux video editing, or that is simple to support the kind of workflow that he currently being worked on. We will introduce the anticipated, and Cinelerra was too complex to developers or/and the development communities teach quickly to his collaborators. They were not that are behind these projects, and how the only choices, as new editing applications collaboration between projects works. We will emerged, likely because other Free Software mention interesting events and places where Linux enthusiasts were finding themselves in a similar video developers meet, and what groups might be dilemma. Those however, were also very much at interested in our work, or ought to be involved into a starting point of development, and far from being specific aspects of our work. We will outline mature enough for general use. where projects are still lacking to support specific use cases, and why they matter.
    [Show full text]
  • Open Source Software Zur Multimedialen
    Open Source Software Einsatz zur multimedialen Produktion im Unterricht eEducationeEducation FachtagungFachtagung 2017,2017, SalzburgSalzburg Benedikt Völker, MA; 2017 Bild: Johannes Spielhagen, Bamberg, Germany - Provided as files by the author to be published by OSBF e.V. under an open license. CC BY-SA 3.0 https://en.wikipedia.org/wiki/Open-source_model#/media/File:121212_2_OpenSwissKnife.png Open Source Software (OSS) ● Wikipedia: „Als Open Source (aus englisch open source, wörtlich offene Quelle) wird Software bezeichnet, deren Quelltext öffentlich und von Dritten eingesehen, geändert und genutzt werden kann.“ (Quelle:https://de.wikipedia.org/wiki/Open_Source; CC BY-SA 3.0) ● Ursprung: Free Software Movement ● GNU-Projekt (1983) (Bild: Aurelio A. Heckert - gnu.org; CC BY-SA 2.0) ● Free Software Foundation (FSF, 1985) (Bild: Free Software Foundation; CC BY-SA 3.0) ● Open Source Initiative (OSI, 1998) (Bild: Open Source Initiative; CC BY 2.5) (F)OSS - Prominente Beispiele ● GNU/Linux → Android, (Web-)Server, „Supercomputer“, Internet of Things, Firmware, Desktop,… ● Mozilla Firefox ● VideoLan Client (VLC) ● LibreOffice/OpenOffice ● WordPress ● Microsoft TrueType Core Fonts ● Darwin (OSX Kernel) ● Programmiersprachen → WebKit/Javascript, PHP, Python, .NET Core,... Quellen für Open Source Software (F)OSS kann einfach an vielen Stellen im Internet gefunden werden. Beispiele: ● Sourceforge (https://sourceforge.net/) ● FSF Free Software Directory (https://directory.fsf.org/wiki/Main_Page) ● Wikipedia (https://en.wikipedia.org/wiki/List_of_free_and_open-
    [Show full text]