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Advances in Social Science, Education and Humanities Research, volume 123 2nd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2017) The Application of New Media Technology in the Ideological and Political Education of College Students Hao Lu 1, a 1 Jiangxi Vocational & Technical College of Information Application, Nanchang, China [email protected] Keywords: new media; application; the Ideological and Political Education Abstract: With the development of science and technology, new media technology has been more widely used in teaching. In particular, the impact of new media technology on college students’ ideological and political education is very important. The development of new media technology has brought the opportunities to college students’ ideological and political education while bringing the challenges. Therefore, it is an urgent task to study on college students’ ideological and political education under the new media environment. 1. Introduction New media technology, relative to traditional media technology, is the emerging electronic media technology on the basis of digital technology, internet technology, mobile communication technology, etc. it mainly contains fetion, wechat, blog, podcast, network television, network radio, online games, digital TV, virtual communities, portals, search engines, etc. With the rapid development and wide application of science and technology, new media technology has profoundly affected students’ learning and life. Of course, it also brings new challenges and opportunities to college students’ ideological and political education. Therefore, how to better use the new media technology to improve college students’ ideological and political education becomes the problems needing to be solving by college moral educators. 2. The intervention mode and its characteristics of new media technology New media technology, including blog, instant messaging tools, streaming media, etc, is a new network tools and application mode and instant messaging carriers under the network environment. -
'DIY' Digital Preservation for Audio Identify · Appraise · Organise · Preserve · Access Plan + Housekeeping
'DIY' Digital Preservation for Audio Identify · Appraise · Organise · Preserve · Access Plan + housekeeping Part 1 (10:00am-10:50am) Part 2 (11:00am-11:45am) 10:00am-10:10am Intros and housekeeping 10:50am-11:00am [10-minute comfort break] 10:10am-10:30am Digital Preservation for audio 11:00am-11:15am Organise (Migrate) What material do you care 11:15am-11:45am Store, Maintain, Access about and hope to keep?_ Discussion & Questions 10:30am-10:50am Locate, Appraise, Identify What kind of files are you working with?_ Feel free to Using Zoom swap to ‘Grid View’ when slides are not in use, to gage ‘the room’. Please use the chat Please keep function to your mic on ask questions ‘mute’ when while slides not speaking. are in use. Who are we? • Bridging the Digital Gap traineeship scheme • UK National Archives (National Lottery Heritage Fund) • bringing ‘digital’ skills into the archives sector Why are we doing these workshops? • agitate the cultural record to reflect lived experience • embrace tools that support historical self-determination among non- specialists • raise awareness, share skills, share knowledge What is digital preservation? • digital material is vulnerable in different ways to analog material • digital preservation = “a series of managed activities undertaken to ensure continued access to digital materials for as long as necessary.” Audio practices and technological dependency Image credit: Tarje Sælen Lavik Image credit: Don Shall Image credit: Mk2010 Image credit: Stahlkocher Image credit: JuneAugust Digital preservation and ‘born-digital’ audio Bitstream File(s) Digital Content Rendered Content • codecs (e.g. LPCM) • formats and containers (e.g. -
A Forensic Database for Digital Audio, Video, and Image Media
THE “DENVER MULTIMEDIA DATABASE”: A FORENSIC DATABASE FOR DIGITAL AUDIO, VIDEO, AND IMAGE MEDIA by CRAIG ANDREW JANSON B.A., University of Richmond, 1997 A thesis submitted to the Faculty of the Graduate School of the University of Colorado Denver in partial fulfillment of the requirements for the degree of Master of Science Recording Arts Program 2019 This thesis for the Master of Science degree by Craig Andrew Janson has been approved for the Recording Arts Program by Catalin Grigoras, Chair Jeff M. Smith Cole Whitecotton Date: May 18, 2019 ii Janson, Craig Andrew (M.S., Recording Arts Program) The “Denver Multimedia Database”: A Forensic Database for Digital Audio, Video, and Image Media Thesis directed by Associate Professor Catalin Grigoras ABSTRACT To date, there have been multiple databases developed for use in many forensic disciplines. There are very large and well-known databases like CODIS (DNA), IAFIS (fingerprints), and IBIS (ballistics). There are databases for paint, shoeprint, glass, and even ink; all of which catalog and maintain information on all the variations of their specific subject matter. Somewhat recently there was introduced the “Dresden Image Database” which is designed to provide a digital image database for forensic study and contains images that are generic in nature, royalty free, and created specifically for this database. However, a central repository is needed for the collection and study of digital audios, videos, and images. This kind of database would permit researchers, students, and investigators to explore the data from various media and various sources, compare an unknown with knowns with the possibility of discovering the likely source of the unknown. -
Microsoft Powerpoint
Development of Multimedia WebApp on Tizen Platform 1. HTML Multimedia 2. Multimedia Playing with HTML5 Tags (1) HTML5 Video (2) HTML5 Audio (3) HTML Pulg-ins (4) HTML YouTube (5) Accessing Media Streams and Playing (6) Multimedia Contents Mgmt (7) Capturing Images 3. Multimedia Processing Web Device API Multimedia WepApp on Tizen - 1 - 1. HTML Multimedia • What is Multimedia ? − Multimedia comes in many different formats. It can be almost anything you can hear or see. − Examples : Pictures, music, sound, videos, records, films, animations, and more. − Web pages often contain multimedia elements of different types and formats. • Multimedia Formats − Multimedia elements (like sounds or videos) are stored in media files. − The most common way to discover the type of a file, is to look at the file extension. ⇔ When a browser sees the file extension .htm or .html, it will treat the file as an HTML file. ⇔ The .xml extension indicates an XML file, and the .css extension indicates a style sheet file. ⇔ Pictures are recognized by extensions like .gif, .png and .jpg. − Multimedia files also have their own formats and different extensions like: .swf, .wav, .mp3, .mp4, .mpg, .wmv, and .avi. Multimedia WepApp on Tizen - 2 - 2. Multimedia Playing with HTML5 Tags (1) HTML5 Video • Some of the popular video container formats include the following: Audio Video Interleave (.avi) Flash Video (.flv) MPEG 4 (.mp4) Matroska (.mkv) Ogg (.ogv) • Browser Support Multimedia WepApp on Tizen - 3 - • Common Video Format Format File Description .mpg MPEG. Developed by the Moving Pictures Expert Group. The first popular video format on the MPEG .mpeg web. -
Audience Affect, Interactivity, and Genre in the Age of Streaming TV
. Volume 16, Issue 2 November 2019 Navigating the Nebula: Audience affect, interactivity, and genre in the age of streaming TV James M. Elrod, University of Michigan, USA Abstract: Streaming technologies continue to shift audience viewing practices. However, aside from addressing how these developments allow for more complex serialized streaming television, not much work has approached concerns of specific genres that fall under the field of digital streaming. How do emergent and encouraged modes of viewing across various SVOD platforms re-shape how audiences affectively experience and interact with genre and generic texts? What happens to collective audience discourses as the majority of viewers’ situated consumption of new serial content becomes increasingly accelerated, adaptable, and individualized? Given the range and diversity of genres and fandoms, which often intersect and overlap despite their current fragmentation across geographies, platforms, and lines of access, why might it be pertinent to reconfigure genre itself as a site or node of affective experience and interactive, collective production? Finally, as studies of streaming television advance within the industry and academia, how might we ponder on a genre-by- genre basis, fandoms’ potential need for time and space to collectively process and interact affectively with generic serial texts – in other words, to consider genres and generic texts themselves as key mediative sites between the contexts of production and those of fans’ interactivity and communal, affective pleasure? This article draws together threads of commentary from the industry, scholars, and culture writers about SVOD platforms, emergent viewing practices, speculative genres, and fandoms to argue for the centrality of genre in interventions into audience studies. -
Pre-Roll & Mid-Roll Video
Pre-roll & Mid-roll Video 1/2 THIRD PARTY ALL ASSETS BELOW ARE REQUIRED VAST SPECIFICATIONS TO BE PRESENT IN THE VAST TAG Not available for live stream sponsorships or feature sponsorships. All assets for sponsored Bit rate Codecs accepted Min dimensions Max file size Use cases content must use the "Network 10 Hosted Video In-Stream Ad with Companion" specifications. Mezzanine File 15–30 Mbps H.264 1920x1080 1.7 GB Required for SSAI Aspect ratio Format (High profile) Environments 16:9 Video will auto-scale correctly Frame Rate: 24 :15 – 4.5MB High Codec Constant frame rate only 2,100 kbps H.264 Mezzanine File - .mov +/- 50 kbps (High profile) 1024x576 :30 – 9MB bandwidth (H.264 High Profile) No de-interlacing with :18 – 18MB users no frame blending mp4 (high profile) :15 – 3.5MB Standard asset Remove any pull-down 1,500 kbps H.264 +/- 50 kbps (High profile) 960x540 :30 – 7MB for most users webm (VP8 or VP9) added for broadcast :18 – 14MB and pre roll Duration Audio :15 – 1MB Low 750 kbps H.264 768x432 :30 – 2MB bandwidth Network 10 accepts a variety of length Mezzanine file: 2 Channels only, AAC +/- 50 kbps (High profile) :18 – 4MB users creatives, standards include :6*, :15, :30, Codec, 192 KBPS minimum, 16 or 24 bit Available on :60*, :90*. only, 48 kHz Sample Rate. :15 – 4.5MB High 375 kbps H.264 Any tag submitted must contain creative mp4 assets: 2 Channels only, AAC Codec, +/- 50 kbps (High profile) 640x360 :30 – 9MB bandwidth of all the same length. 192 KBPS minimum, 16 or 24 bit only, 48 :18 – 18MB users kHz Sample Rate. -
Opus, a Free, High-Quality Speech and Audio Codec
Opus, a free, high-quality speech and audio codec Jean-Marc Valin, Koen Vos, Timothy B. Terriberry, Gregory Maxwell 29 January 2014 Xiph.Org & Mozilla What is Opus? ● New highly-flexible speech and audio codec – Works for most audio applications ● Completely free – Royalty-free licensing – Open-source implementation ● IETF RFC 6716 (Sep. 2012) Xiph.Org & Mozilla Why a New Audio Codec? http://xkcd.com/927/ http://imgs.xkcd.com/comics/standards.png Xiph.Org & Mozilla Why Should You Care? ● Best-in-class performance within a wide range of bitrates and applications ● Adaptability to varying network conditions ● Will be deployed as part of WebRTC ● No licensing costs ● No incompatible flavours Xiph.Org & Mozilla History ● Jan. 2007: SILK project started at Skype ● Nov. 2007: CELT project started ● Mar. 2009: Skype asks IETF to create a WG ● Feb. 2010: WG created ● Jul. 2010: First prototype of SILK+CELT codec ● Dec 2011: Opus surpasses Vorbis and AAC ● Sep. 2012: Opus becomes RFC 6716 ● Dec. 2013: Version 1.1 of libopus released Xiph.Org & Mozilla Applications and Standards (2010) Application Codec VoIP with PSTN AMR-NB Wideband VoIP/videoconference AMR-WB High-quality videoconference G.719 Low-bitrate music streaming HE-AAC High-quality music streaming AAC-LC Low-delay broadcast AAC-ELD Network music performance Xiph.Org & Mozilla Applications and Standards (2013) Application Codec VoIP with PSTN Opus Wideband VoIP/videoconference Opus High-quality videoconference Opus Low-bitrate music streaming Opus High-quality music streaming Opus Low-delay -
Google Chrome Browser Dropping H.264 Support 14 January 2011, by John Messina
Google Chrome Browser dropping H.264 support 14 January 2011, by John Messina with the codecs already supported by the open Chromium project. Specifically, we are supporting the WebM (VP8) and Theora video codecs, and will consider adding support for other high-quality open codecs in the future. Though H.264 plays an important role in video, as our goal is to enable open innovation, support for the codec will be removed and our resources directed towards completely open codec technologies." Since Google is developing the WebM technology, they can develop a good video standard using open source faster and better than a current standard video player can. The problem with H.264 is that it cost money and On January 11, Google announced that Chrome’s the patents for the technologies in H.264 are held HTML5 video support will change to match codecs by 27 companies, including Apple and Microsoft supported by the open source Chromium project. and controlled by MPEG LA. This makes H.264 Chrome will support the WebM (VP8) and Theora video expensive for content owners and software makers. codecs, and support for the H.264 codec will be removed to allow resources to focus on open codec Since Apple and Microsoft hold some of the technologies. patents for the H.264 technology and make money off the licensing fees, it's in their best interest not to change the technology in their browsers. (PhysOrg.com) -- Google will soon stop supporting There is however concerns that Apple and the H.264 video codec in their Chrome browser Microsoft's lack of support for WebM may impact and will support its own WebM and Ogg Theora the Chrome browser. -
Qoe Based Comparison of H.264/AVC and Webm/VP8 in Error-Prone Wireless Networkqoe Based Comparison of H.264/AVC and Webm/VP8 In
QoE based comparison of H.264/AVC and WebM/VP8 in an error-prone wireless network Omer Nawaz, Tahir Nawaz Minhas, Markus Fiedler Department of Technology and Aesthetics (DITE) Blekinge Institute of Technology Karlskrona, Sweden fomer.nawaz, tahir.nawaz.minhas, markus.fi[email protected] Abstract—Quality of Experience (QoE) management is a prime the subsequent inter-frames are dependent will result in more topic of research community nowadays as video streaming, quality loss as compared to lower priority frame. Hence, the online gaming and security applications are completely reliant traditional QoS metrics simply fails to analyze the network on the network service quality. Moreover, there are no standard models to map Quality of Service (QoS) into QoE. HTTP measurement’s impact on the end-user service satisfaction. media streaming is primarily used for such applications due The other approach to measure the user-satisfaction is by to its coherence with the Internet and simplified management. direct interaction via subjective assessment. But the downside The most common video codecs used for video streaming are is the time and cost associated with these qualitative subjective H.264/AVC and Google’s VP8. In this paper, we have analyzed assessments and their inability to be applied in real-time the performance of these two codecs from the perspective of QoE. The most common end-user medium for accessing video content networks. The objective measurement quality tools like Mean is via home based wireless networks. We have emulated an error- Squared Error (MSE), Peak signal-to-noise ratio (PSNR), prone wireless network with different scenarios involving packet Structural Similarity Index (SSIM), etc. -
Streaming Media Seminar – Effective Development and Distribution Of
Proceedings of the 2004 ASCUE Conference, www.ascue.org June 6 – 10, 1004, Myrtle Beach, South Carolina Streaming Media Seminar – Effective Development and Distribution of Streaming Multimedia in Education Robert Mainhart Electronic Classroom/Video Production Manager James Gerraughty Production Coordinator Kristine M. Anderson Distributed Learning Course Management Specialist CERMUSA - Saint Francis University P.O. Box 600 Loretto, PA 15940-0600 814-472-3947 [email protected] This project is partially supported by the Center of Excellence for Remote and Medically Under- Served Areas (CERMUSA) at Saint Francis University, Loretto, Pennsylvania, under the Office of Naval Research Grant Number N000140210938. Introduction Concisely defined, “streaming media” is moving video and/or audio transmitted over the Internet for immediate viewing/listening by an end user. However, at Saint Francis University’s Center of Excellence for Remote and Medically Under-Served Areas (CERMUSA), we approach stream- ing media from a broader perspective. Our working definition includes a wide range of visual electronic multimedia that can be transmitted across the Internet for viewing in real time or saved as a file for later viewing. While downloading and saving a media file for later play is not, strictly speaking, a form of streaming, we include that method in our discussion of multimedia content used in education. There are numerous media types and within most, multiple hardware and software platforms used to develop and distribute video and audio content across campus or the Internet. Faster, less expensive and more powerful computers and related tools brings the possibility of content crea- tion, editing and distribution into the hands of the content creators. -
Streaming Media for Web Based Training
DOCUMENT RESUME ED 448 705 IR 020 468 AUTHOR Childers, Chad; Rizzo, Frank; Bangert, Linda TITLE Streaming Media for Web Based Training. PUB DATE 1999-10-00 NOTE 7p.; In: WebNet 99 World Conference on the WWW and Internet Proceedings (Honolulu, Hawaii, October 24-30, 1999); see IR 020 454. PUB TYPE Reports Descriptive (141) Speeches/Meeting Papers (150) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS *Computer Uses in Education; Educational Technology; *Instructional Design; *Material Development; *Multimedia Instruction; *Multimedia Materials; Standards; *Training; World Wide Web IDENTIFIERS Streaming Audio; Streaming Video; Technology Utilization; *Web Based Instruction ABSTRACT This paper discusses streaming media for World Wide Web-based training (WBT). The first section addresses WBT in the 21st century, including the Synchronized Multimedia Integration Language (SMIL) standard that allows multimedia content such as text, pictures, sound, and video to be synchronized for a coherent learning experience. The second section covers definitions, history, and current status. The third section presents SMIL as the best direction for WBT. The fourth section describes building a WBT module,using SMIL, including interface design, learning materials content design, and building the RealText[TM], RealPix[TM], and SMIL files. The fifth section addresses technological issues, including encoding content to RealNetworks formats, uploading files to stream server, and hardware requirements. The final section summarizes future directions. (MES) Reproductions supplied by EDRS are the best that can be made from the original document. U.S. DEPARTMENT OF EDUCATION Office of Educational Research and Improvement PERMISSION TO REPRODUCE AND EDUCATIONAL RESOURCES INFORMATION DISSEMINATE THIS MATERIAL HAS CENTER (ERIC) BEEN GRANTED BY fH This document has been reproduced as received from the person or organization G.H. -
Standards – ST.88 Page: 3.88.1 En / 03-88-01 Date
HANDBOOK ON INDUSTRIAL PROPERTY INFORMATION AND DOCUMENTATION Ref.: Standards – ST.88 page: 3.88.1 STANDARD ST.88 RECOMMENDATIONS FOR ELECTRONIC REPRESENTATION OF INDUSTRIAL DESIGNS Adopted by the Committee on WIPO Standards (CWS) at its eighth session on December 4, 2020 Editorial Note by the International Bureau At its eighth session, the CWS discussed the treatment of SVG format within this Standard. The CWS referred the issue of SVG back to the Design Representation Task Force to recommend a revision to this Standard at the ninth session of the CWS. This Standard does not currently make recommendations on 3D objects. Recommendations for 3D objects and file formats are being evaluated by the 3D Task Force of the CWS. It is proposed to revisit this topic when the 3D Task Force completes their evaluation, and possibly make revisions to this Standard if appropriate. INTRODUCTION 1. These recommendations provide guidance on how to create, store, display, manage, search, publish and exchange electronic representations of industrial designs. OBJECTIVES 2. These recommendations are intended to achieve: The maximum re-use of the same electronic representations for applicants to file the same design at multiple Intellectual Property (IP) offices; A common set of requirements for IP offices to exchange electronic representations data; A common set of requirements for IP offices to process and publish electronic representations; and A common set of requirements to enhance automated search of electronic representations. DEFINITIONS AND TERMINOLOGY 3. For the purposes of these recommendations, the following terms apply unless otherwise specified: (a) “3D model” means an electronic file that is created by a specialized software, for mathematically representing the surface of an object in three dimensions; (b) “industrial design” means the visual aspect of an object, including its two-dimensional and three-dimensional features of shape and surface.